Breaking the Magic Spell: Radical Theories of Folk and Fairy Tales

Total Page:16

File Type:pdf, Size:1020Kb

Breaking the Magic Spell: Radical Theories of Folk and Fairy Tales University of Kentucky UKnowledge Folklore Anthropology 7-5-2002 Breaking the Magic Spell: Radical Theories of Folk and Fairy Tales Jack Zipes Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Zipes, Jack, "Breaking the Magic Spell: Radical Theories of Folk and Fairy Tales" (2002). Folklore. 15. https://uknowledge.uky.edu/upk_folklore/15 Breaking the Magic Spell Publication of this volume was made possible in part by a grant from the National Endowment for the Humanities. Copyright O 1979 by Jack Zipes Published 2002 by The University Press of Kentucky Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. - Editorial and Sales Ofices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com Library of Congress Cataloging-in-Publication Data Zipes, Jack Breaking the magic spell. 1. Tales, European-History and criticism. 2. Literature and society. I. Title ISBN-10: 0-8131-9030-4 (paper) ISBN-13: 978-0-8131-9030-3 This book is printed on acid-free recycled paper meeting the requirements of the American National Standard for Permanence in Paper for Printed Library Materials. Manufactured in the United States of America. I Member of the Association of d American University Presses For my Mother and Father Contents Preface to 2002 Edition ix Preface to 1979 Edition xi Acknowledgments xiv Introductory Fairy Tales xv 1. Once There Was a Time: An Introduction to the History and Ideology of Folk and Fairy Tales 1 2. Might Makes Right-The Politics of Folk and Fairy Tales 23 3. The Revolutionary Rise of the Romantic Fairy Tale in Germany 47 4. The Instrumentalization of Fantasy: Fairy Tales, the Culture Industry and Mass media 104 5. The Utopian Function of Fairy Tales and Fantasy: Ernst Bloch the Marxist and J.R.R. Tolkien the Catholic 146 6. On the Use and Abuse of Folk and Fairy Tales with Children: Bruno Bettelheim's Moralistic Magic Wand 179 7. The Radical Morality of Rats, Fairies, Wizards and Ogres: Taking Children's Literature Seriously 206 Notes 233 Bibliography 253 Index 271 Preface to the 2002 Edition In revising the essays in this collection, first published in 1979, I was surprised to find how "radical" they still are. Over twenty years have passed since I wrote these articles under the influence of the student and anti-war movement of the late 1960s and 1970s, the resurgence of interest in Marxism, and my own study of the Frankfurt School, in particular the works of Herbert Marcuse, Theodor Adorno, Max Horkheimer, and Jiirgen Habermas, coupled with the unusual philo- sophical works of Ernst Bloch. One would have thought that, since then, the political approach that I took would have become pass6 and surpassed by more sophisticated and moderate studies of folk and fairy tales. To a certain extent, this is true. Since 1979 there has been an abundant production of multi-faceted approaches to the oral and literary tradition of fairy tales. However, despite some superb femi- nist analyses and social criticism, there has been a strange avoidance to discuss social class, ideological conflicts, and the false assump- tions of numerous psychological approaches in a frank and straight- forward manner-one of the purposes in the original publication of this book. I still maintain that literature and art cannot be fully understood without considering the socio-political-cultural context in which they are produced. In addition, the political nature of economics and tech- nology is important to take into account. The forms, shapes, and mes- sages of folk and fairy tales are determined by the conflicts in cultural fields of production in the public sphere. One of them is the culture industry that I discuss at various points throughout this book. Though conditions of production have changed immensely since I wrote most of my essays, the culture industry continues to be a determining fac- tor in the transmission of folk and fairy tales, and with the advent of globalization and the formation of large media conglomerates, the culture industry has accumulated even more power in shaping art forms and their transmission. As long as there are conflicts and different Preface to the 2002 Edition voices and interests articulated within cultural fields, there will al- ways be hope that folk and fairy tales may provide counsel and moral learning to expose the crazed drive for power that many individual politicians, corporate leaders, governments, church leaders, and petty tyrants evince and to pierce the hypocrisy of their moral stances. In this regard, the intention of "breaking the magic spell" is to do away with the mystique and charisma that pervade our lives so that we can grasp the deceptive and arbitrary uses of enchantment and entertain- ment. Though I may at times overstate my political arguments, I still maintain that this radical approach-to get at the root of things-is not practiced enough in our day and age, and if anything, I may not be thorough and lucid enough in some of the essays to indicate what a radical theory would mean for folk and fairy tales. Certainly, I did not mean to elaborate a systematic theory when I originally wrote the essays, but I did hope to lay the groundwork for much of the work that I have completed since writing this book. All of the essays in this book have been fully revised and updated as much as possible. In many instances I have corrected or changed my opinions and have expanded my interpretations. The essay on Bettelheim contains a new prologue, and the final essay on "The Radi- cal Morality of Rats, Fairies, Wizards, and Ogres: Taking Children's Literature Seriously" is completely new and written expressly for this book. In dealing with Harry Potter and Shrek, the hero and the anti- hero of fairy tales, I emphasize the moral nature and political divide in the production of popular culture for young people. The culture industry constantly seeks to cast magic spells over viewers and read- ers so that they cannot see and read the truth. It is not for me or any- one to say what truth is, but certainly lies and falsehoods can be exposed by breaking magic spells, wherever they pose as good and truthful. Preface to the 1979 Edition Our lives are framed by folk and fairy tales, but in the framework we never fill in the meaning of the tales for ourselves. It remains illusive just as our own history remains illusive. From birth to death we hear and imbibe the lore of folk and fairy tales and sense that they can help us reach our destiny. They know and tell us that we want to become kings and queens, ontologically speaking to become masters of our own realms, in touch with the projects of our lives and the self-projec- tions, to stand upright as makers of history. Folk and fairy tales illu- minate the way. They anticipate the millennium. They ferret out deep-rooted wishes, needs, and wants and demonstrate how they all can be realized. In this regard folk and fairy tales present a challenge, for within the tales lies the hope of self-transformation and a better world. Yet folk and fairy tales can be deceptive. They can lead us on a wild-goose chase and toy with our imagination if we do not learn about their history and how to evaluate their emancipatory potential. For example, what we generally refer to as a fairy tale is quite often a folk tale which has its roots in the experience and fantasy of primitive peoples who cultivated the tale in an oral tradition. And it was this oral tradition which engendered the literary fairy tale which has as- sumed a variety of distinct and unique forms since the late Middle Ages. To grasp the socio-historical forces which played a vast role in the transition of the oral folk tale to the literary fairy tale is crucial for understanding why both genres persist in mass-mediated forms of the culture industry today and why their "magic" still attracts us. The essays collected in this volume move forward historically to reflect upon present viewpoints on folk and fairy tales. Though they were all conceived independently to treat specific problems and are self-contained, they share a common concern in the evolution of the folk tale as fairy tale and often overlap. The first essay "Once There Was a Time: An Introduction to the History and Ideology of Folk and Preface to the 1979 Edition Fairy Tales" sets forth my general ideas and terms elaborated in more detail by the studies which follow. "Might Makes Right-The Poli- tics of Folk and Fairy Tales" expands upon the socio-historical rea- sons for the transition of the folk tale to the fairy tale and focuses on the underlying power struggles which constitute the themes of the tales. "The Revolutionary Rise of the Romantic Fairy Tale in Ger- many" continues this discussion on a higher theoretical level and seeks to relate the innovative aesthetics of the fairy tale to the changing conditions and spirit of the times.
Recommended publications
  • Attractions in Bergen – Opening Hours
    OFFICIAL GUIDE FOR BERGEN ENGLISH BERGEN CHRISTMAS & NEW YEAR’S IN BERGEN 2018 2018 © Bergen Reiselivslag / Christer Rønnestad – visitBergen.com PLAN & BOOK: visitBergen.com World Heritage City 2 WELCOME INFORMATION 3 © Bergen Reiselivslag / Robin Strand – visitBergen.com © Bergen Reiselivslag / Robin Strand – visitBergen.com Welcome to Christmas time in Bergen! Calendar Whether you’re spending Christmas or carolling in their neighbourhood. In New Year’s here, we hope you’ll enjoy Bergen this is traditionally done by kids Monday Tuesday Wednesday Thursday Friday Saturday Sunday your stay! on New Year’s Eve (nyttårsbukk). There is 17. Dec. 18. Dec. 19. Dec. 20. Dec. 21. Dec. 22. Dec. 23. Dec. Every country has its own set of traditions (or was) an adult version of this tradition and Christmas in Norway might be where people dress up to avoid being different from what you’re familiar with. recognised and visit their neighbours and Norwegian Christmas is all about family friends, asking for drinks. Monday Tuesday Wednesday Thursday Friday Saturday Sunday and traditions! To most Norwegians Jul Nyttårsaften (New Year’s Eve) is 24. Dec. 25. Dec. 26. Dec. 27. Dec. 28. Dec. 29. Dec. 30. Dec. means family time – the Scandinavian celebrated with a huge dinner with your concept of hygge is important. On family or friends, and celebrated with Christmas Eve we celebrate with fi reworks, either at home or on the traditional food – usually pinnekjøtt, town. January 1 is a day of relaxation, Monday Tuesday Wednesday Thursday Friday Saturday Sunday lutefi sk or ribbe – and opening of restitution and refl ection before heading Christmas presents (not on Christmas back to work on January 2.
    [Show full text]
  • Jack Zipes, When Dreams Came True: Classical Fairy Tales And
    Jack Zipes, When Dreams Came True Classical Fairy Tales and Their Tradition (2nd ed., New York, Routledge, 2007) Introduction—“Spells of Enchantment: An Overview of the History of Fairy Tales” adopts the usual Zipes position—fairy tales are strongly wish-fulfillment orientated, and there is much talk of humanity’s unquenchable desire to dream. “Even though numerous critics and psychologists such as C. G. Jung and Bruno Bettelheim have mystified and misinterpreted the fairy tale because of their own spiritual quest for universal archetypes or need to save the world through therapy, the oral and literary forms of the fairy tale have resisted the imposition of theory and manifested their enduring power by articulating relevant cultural information necessary for the formation of civilization and adaption to the environment…They emanate from specific struggles to humanize bestial and barbaric forces that have terrorized our minds and communities in concrete ways, threatening to destroy free will and human compassion. The fairy tale sets out, using various forms and information, to conquer this concrete terror through metaphors that are accessible to readers and listeners and provide hope that social and political conditions can be changed.’ pp.1-2 [For a writer rather quick to pooh-pooh other people’s theories, this seems quite a claim…] What the fairy tale is, is almost impossible of definition. Zipes talks about Vladimir Propp, and summarises him interestingly on pp.3-4, but in a way which detracts from what Propp actually said, I think, by systematizing it and reducing the element of narrator-choice which was central to Propp’s approach.
    [Show full text]
  • Xerox University Microfilms
    INFORMATION TO USERS This malarial was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again - beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
    [Show full text]
  • Pe/Uasdj Sm6|J Nv *3K11 'Smolxvianls Oloaxvhxs Aq'z
    pe/uasdj sm6|j nv *3K11 'SMOlXViaNlS OlOaXVHXS Aq'z«6P<S ■ ' • a a c T : r - - 8 - - 81 - - zt - It - - - J91H1 SI - - II - 9S SI - - 6 - SS 2S - - yaiHoiJ - - - - - - - - - - - 8fr - VZ SS 9C 01 SC tl ts 6 ss 8 SI L 9S Sl7 9 OS s VJklOW - - - Z^ - \z - IS - 2S - 6V - s St LZ SC zz 9Z OS 9 17 81 Z 62 2 S2 I aaouva - - - - - - frt- - - - - _ 617 - - - QZ 6C LZ 17S LZ 61 92 OS 22 Z^ LI 62 IS OZ Z£ ^Z IS 8 L t S2 81 S S2 2 12 I isaiyj - - - - - - - - 9S - - - - - - - - - - - - - - - - IS 9V OS SS - - Ofr - 817 6C - 8S Sl7 tz ss ts VI 01 It 6 91 Zl 9C SI ss II 17C 8 S2 12 L 9 CI s oyvziM SI *f CI ZI II 01 6 8 L 9 c c c I laATi sseiD Xq si3A»i lusjaj^a ie 3iqe|{EAV S||9ds •(aApeiniunD) aAjpv = V '(aAijeinLunD ^ou) V/D 2 D k i i a k i i g 2 OS 3AlSSBd = r d l e q u j o a - u o w = k l " j e q u j o o = 3 V/D T D k i i a k i i g I 62 liAVOl -:j, 'uo3Buna=a 'ss3UJ3pi!/V\ =A\ V/D tssakNvaM t 82 '3J3qAv03A3 = a rapnput S3d>^ I|3dS . V/D S S S 3 k i y V 3 M S LZ V/D 2 S S 3 k I M V 3 A \ 2 92 AID A D v y n D D V A i y v d V 9S V/D I s s a k i M v a m I S2 A/0 ADVynDDV z SS V/D t k i o i s n j k i o D t t2 1/kl KioiiviyodSkivyx 2 ts V/D s k i o i s n x k i o D S S2 om/u uoiivmvAa yaiswow V 2S V/D 2 k i o i s n j k i o D 2 22 V/D USMVMV Z IS V/D I k i o i s n j k i o D I X2 A/O I v r w i k i 2 OS d/D t k i o i x D a x o y d t 02 V/D avaakin nadsia T 6t d/D s k i o i x D a x o y d S 6X A/O lVlkI3W313 kiowwns V 817 d/D 2 k i o i x D a x o y d 2 8X V/D aAiossia Z LV d/D I k i o i x D a x o y d X LI V/D yv3J 2 9V d/D 2 a w v n j M o y y v A x y v d t 91
    [Show full text]
  • 'Goblinlike, Fantastic: Little People and Deep Time at the Fin De Siècle
    ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output ’Goblinlike, fantastic: little people and deep time at the fin de siècle https://eprints.bbk.ac.uk/id/eprint/40443/ Version: Full Version Citation: Fergus, Emily (2019) ’Goblinlike, fantastic: little people and deep time at the fin de siècle. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email ‘Goblinlike, Fantastic’: Little People and Deep Time at the Fin De Siècle Emily Fergus Submitted for MPhil Degree 2019 Birkbeck, University of London 2 I, Emily Fergus, confirm that all the work contained within this thesis is entirely my own. ___________________________________________________ 3 Abstract This thesis offers a new reading of how little people were presented in both fiction and non-fiction in the latter half of the nineteenth century. After the ‘discovery’ of African pygmies in the 1860s, little people became a powerful way of imaginatively connecting to an inconceivably distant past, and the place of humans within it. Little people in fin de siècle narratives have been commonly interpreted as atavistic, stunted warnings of biological reversion. I suggest that there are other readings available: by deploying two nineteenth-century anthropological theories – E. B. Tylor’s doctrine of ‘survivals’, and euhemerism, a model proposing that the mythology surrounding fairies was based on the existence of real ‘little people’ – they can also be read as positive symbols of the tenacity of the human spirit, and as offering access to a sacred, spiritual, or magic, world.
    [Show full text]
  • Script Preview
    EXPOSED! EIGHT 10-MINUTE SCENES ABOUT WHAT REALLY HAPPENED By Sean Abley, Michael Beyer, Jenny Kirkland-Laffey, Amy Seeley Copyright © 2013 by Sean Abley, Michael Beyer, Jenny Kirkland-Laffey, Amy Seeley, All rights reserved. ISBN: 1-60003-676-7 CAUTION: Professionals and amateurs are hereby warned that this Work is subject to a royalty. This Work is fully protected under the copyright laws of the United States of America and all countries with which the United States has reciprocal copyright relations, whether through bilateral or multilateral treaties or otherwise, and including, but not limited to, all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention and the Berne Convention. RIGHTS RESERVED: All rights to this Work are strictly reserved, including professional and amateur stage performance rights. Also reserved are: motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all forms of mechanical or electronic reproduction, such as CD-ROM, CD-I, DVD, information and storage retrieval systems and photocopying, and the rights of translation into non-English languages. PERFORMANCE RIGHTS AND ROYALTY PAYMENTS: All amateur and stock performance rights to this Work are controlled exclusively by Brooklyn Publishers, LLC. No amateur or stock production groups or individuals may perform this play without securing license and royalty arrangements in advance from Brooklyn Publishers, LLC. Questions concerning other rights should be addressed to Brooklyn Publishers, LLC. Royalty fees are subject to change without notice. Professional and stock fees will be set upon application in accordance with your producing circumstances. Any licensing requests and inquiries relating to amateur and stock (professional) performance rights should be addressed to Brooklyn Publishers, LLC.
    [Show full text]
  • Anthropoetics V, 1
    Anthropoetics V, 1 Anthropoetics V, no. 1 Spring / Summer 1999 ISSN 1083-7264 Table of Contents 1. Erik Eisel - "In the Beginning was the Word...": The Question of the Origin of Language in Goethe's Faust 2. William Mishler - The Question of the Origin of Language in René Girard, Eric Gans, and Kenneth Burke 3. Herbert Plutschow - An Anthropological Perspective on the Japanese Tea Ceremony 4. Eric Gans - The Little Bang: The Early Origin of Language 5. Benchmarks Eric Gans / [email protected] Last updated 7/23/99 http://steadr/anthropoetics/0501/ [5/10/2000 10:29:48 AM] Eisel Anthropoetics 5, no. 1 (Spring/Summer 1999) "In the Beginning was the Word...": The Question of the Origin of Language in Goethe's Faust Erik M. Eisel Department of Germanic Languages University of California, Los Angeles Los Angeles CA 90095-1539 [email protected] Beginning with the Age of Goethe, the history of the question of the origin of language follows from the general questions, "What is man?" "What is culture?" and "What is language?"(1) The Berlin Academy of Sciences conjectured in its Preisfrage of 1769 whether human beings, "abandoned to their natural faculties," are capable of inventing language. In response, the first sentence of Johann Gottfried Herder's winning "Essay on the Origin of Language" gives the starting point for new anthropological thinking in the eighteenth century, changing the history of this question: "Already as an animal the human being has language."(2) As Helmut Mueller-Sievers, the author of Self-Generation: Biology, Philosophy, and Literature Around 1800, points out, Herder's rhetorical procedure is an attempt to deny both empirical and divine origins of language while unifying his philosophical project within the domain of language: The quest for a satisfactory explanation for the origin and status of language at the end of the eighteenth century is, historically and structurally, related to the debate about the origin of living beings.
    [Show full text]
  • Oriental Adventures James Wyatt
    620_T12015 OrientalAdvCh1b.qxd 8/9/01 10:44 AM Page 2 ® ORIENTAL ADVENTURES JAMES WYATT EDITORS: GWENDOLYN F. M. KESTREL PLAYTESTERS: BILL E. ANDERSON, FRANK ARMENANTE, RICHARD BAKER, EIRIK BULL-HANSEN, ERIC CAGLE, BRAIN MICHELE CARTER CAMPBELL, JASON CARL, MICHELE CARTER, MAC CHAMBERS, TOM KRISTENSEN JENNIFER CLARKE WILKES, MONTE COOK , DANIEL COOPER, BRUCE R. CORDELL, LILY A. DOUGLAS, CHRISTIAN DUUS, TROY ADDITIONAL EDITING: DUANE MAXWELL D. ELLIS, ROBERT N. EMERSON, ANDREW FINCH , LEWIS A. FLEAK, HELGE FURUSETH, ROB HEINSOO, CORY J. HERNDON, MANAGING EDITOR: KIM MOHAN WILLIAM H. HEZELTINE, ROBERT HOBART, STEVE HORVATH, OLAV B. HOVET, TYLER T. HURST, RHONDA L. HUTCHESON, CREATIVE DIRECTOR: RICHARD BAKER JEFFREY IBACH, BRIAN JENKINS, GWENDOLYN F.M. KESTREL, TOM KRISTENSEN, CATIE A. MARTOLIN, DUANE MAXWELL, ART DIRECTOR: DAWN MURIN ANGEL LEIGH MCCOY, DANEEN MCDERMOTT, BRANDON H. MCKEE, ROBERT MOORE, DAVID NOONAN, SHERRY L. O’NEAL- GRAPHIC DESIGNER: CYNTHIA FLIEGE HANCOCK, TAMMY R. OVERSTREET, JOHN D. RATELIFF, RICH REDMAN, THOMAS REFSDAL, THOMAS M. REID, SEAN K COVER ARTIST: RAVEN MIMURA REYNOLDS, TIM RHOADES, MIKE SELINKER, JAMES B. SHARKEY, JR., STAN!, ED STARK, CHRISTIAN STENERUD, OWEN K.C. INTERIOR ARTISTS: MATT CAVOTTA STEPHENS, SCOTT B. THOMAS, CHERYL A. VANMATER-MINER, LARRY DIXON PHILIPS R. VANMATER-MINER, ALLEN WILKINS, PENNY WILLIAMS, SKIP WILLIAMS CRIS DORNAUS PRONUNCIATION HELP: DAVID MARTIN RON FOSTER, MOE MURAYAMA, CHRIS PASCUAL, STAN! RAVEN MIMURA ADDITIONAL THANKS: WAYNE REYNOLDS ED BOLME, ANDY HECKT, LUKE PETERSCHMIDT, REE SOESBEE, PAUL TIMM DARRELL RICHE RICHARD SARDINHA Dedication: To the people who have taught me about the cultures of Asia—Knight Biggerstaff, Paula Richman, and my father, RIAN NODDY B S David K.
    [Show full text]
  • Masquerade and Mischief in Boccaccio's World
    Travestimento/Travestitismo: Masquerade and Mischief in Boccaccio’s World Scott Antonio Failla Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2015 © 2015 Scott Antonio Failla All rights reserved ABSTRACT Travestimento/travestitismo: Masquerade and Mischief in Boccaccio’s World Scott Antonio Failla Travestimento/travestitismo: Masquerade and Mischief in Boccaccio’s World examines Boccaccio’s use of masquerade to parody social conventions and invert the cultural themes characterizing fourteenth-century Italy. Its aim is to demonstrate the myriad ways in which the medieval author masks and unmasks characters—often using gender as performance—to gain access to either sublimated sexuality or forbidden power, and ultimately to reveal rather than conceal human nature. This study offers a close reading of the Ninfale fiesolano and five novellas (2.3, 2.9, 3.1, 3.2, and 4.2) of the Decameron, focusing on characters that go beyond their usual identity and/or the limits of their biological sex to occupy transgendered spaces. Today, our understanding of gender studies encompasses a far more inclusive understanding of the term “gender.” This dissertation begins with the concept that gender is fluid and performative, and that though the body may be fixed, its gender is not confined to restrictions imposed on it by society. Some of Boccaccio’s characters, accordingly, occupy multiple gendered spaces while assuming the identity of another sex, in particular Zinevra/Sicurano, the abbot/princess, and Africo (Chapters Two, Three, and Four). Although far from the transformations found in the mythological world of Ovid’s Metamorphoses, Boccaccio’s tales offer the “metamorphosis” of the masquerade, that is, a false outward show, a pretense, or façade that oftentimes is achieved through disguise or costume.
    [Show full text]
  • The World of Paladium: a Players Guide
    The World of Palladium: Players guide. The world of Paladium: A players guide. This guide and all of it's content is made according to the PALLADIUM BOOKS® INTERNET POLICY which can be found at http://www.palladiumbooks.com/policies.html. Palladium Fantasy RPG® is a registered trademark owned and licensed by Kevin Siembieda and Palladium Books, Inc © 1983, 1987, 1988, 1990 Kevin Siembieda; © 1995 Palladium Books, All rights reserved world wide. No part of this work may be reproduced in part or whole, in any form or by any means, without permission from the publisher. All incidents, situations, institutions, governments and people are fictional and any similarity to characters or persons living or dead is strictly coincidental." The staff of The World of Palladium can in no way be held responsible for anything in this guide, nor anything that happens at The World of Palladium server. Page 1 of 92 The World of Palladium: Players guide. Table of Contents The Server Rules:................................................................................................................................. 5 Starting tips:........................................................................................................................................11 The haks needed:................................................................................................................................ 12 Class Rules:.......................................................................................................................................
    [Show full text]
  • January 1916) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 1-1-1916 Volume 34, Number 01 (January 1916) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 34, Number 01 (January 1916)." , (1916). https://digitalcommons.gardner-webb.edu/etude/620 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. _ 1 f THE ETUDE THE EMERSON AUTOMATIC CONTENTS JANUARY, 1916 r*™ The supreme goal of the Player Piano—perfect reproduction of hand-playing — is realized in the Emerson Automatic, the newest, most artistic and human of Player Pianos. In the Automatic one receives the impression of accomplished hands playing the keys. “Mechanical touch” has disappeared. It reproduces the interpreta¬ tions of the great artists as they themselves played that particular music. A new and wonderful invention The AccompanO enables one to regulate and phrase the music from a distance. As shown in the illustration, the singer is playing her own accompaniment. With very little practice the accompaniment can be played in this manner with far better effects than if played by hand.
    [Show full text]
  • Graduate Recital Final Draft
    Oh the Horror of Song! Louis Tiemann, baritone Sung-Soo Cho, piano Bard Conservatory of Music Sunday, May 9th 2021, 3pm Graduate Degree Recital Murderous Bookends The Peculiar Case of Dr. H.H. Holmes (2010) Libby Larsen (b.1950) I. I state my case II. As a young man III. I build my business (a polka) IV. Thirteen ladies and three who got away (grand waltz macabre) V. Evidence Requiescat A Kingdom by the Sea (1901) Arthur Somervell (1863-1937) The clock of the years Gerald Finzi (1901-1956) from Earth and Air and Rain (1936) The choirmaster’s burial Benjamin Britten (1913-1976) from Winter Words (1956) short 10min pause Die Volksgeschichten Waldesgespräch Robert Schumann (1810-1856) from Liederkreis, Op. 39 (1840) Der Feuerreiter Hugo Wolf (1860-1903) from Mörikelieder (1888) Der Erlkönig Carl Loewe (1796-1869) from Drei Balladen (1817) Der Doppelgänger Franz Schubert (1797-1828) from Schwanengesang (1828) Horreur La vague et la cloche (1871) Henri Duparc (1848-1933) Danse macabre (1872) Camille Saint-Saëns (1835-1921) Murderous Bookends After Hearing a Waltz by Bartók (2013) Zachary Wadsworth (b.1983) Oh the Horror of Song! When I was a child, I was deeply afraid of the dark. So much so that I refused to sleep in my own room, opting instead to sleep in the living room, always with a light or the TV on. One day during my undergraduate studies I decided that I was going to overcome my fears. One night, when I was alone in my dorm, I turned off all of the lights, ordered a pizza, and put on the scariest movie I could think of at that time: The Evil Dead.
    [Show full text]