DOCSLIB.ORG

Works from the Cinderella Collection

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Works from the Cinderella Collection WORKS FROM THE CINDERELLA COLLECTION Items from the Cinderella Collection on display for the conference. Photo by Felix Weedon 2017. This is a list of books held within the Cinderella collection of books, ephemera and merchandise at the University of Bedfordshire archive, Bedford campus. The titles listed here are in alphabetical order by author (or illustrator, editor, publisher) and divided into chronological sections. The item number within the collection is listed at the end as C#. 1800-1899 Anon, History of Cinderella. Otley, Yorkshire. Printed for The Booksellers. J. S. Publishing & Stationery Co Ltd, 1840. C58. Anon, The Surprising Adventures of Cinderilla or the History of a Glass Slipper to which is added an Historical Description of the Cat. Printed by J. Kendrew, Colliergate, 1820, C92. Bell, Florence and Speed, Lancelot. Illustrator. Fairy Tale Plays and How to Act Them. Longman, 1896. C30. Clarke, C. Allen. Old Tales for Young Folks. John Heywood, 1895. C70. Craik, Dinah Maria Mulock. Fairy Book: The Best Popular Fairy Stories Selected and Rendered Anew. Macmillan, 1863. C71. Crane, Walter. Illustrator. Cinderella. Walter Crane Picture Books reissue. John Lane [1897] n.d. C100. Cruikshank, George. Illustrator. Interesting Story of Cinderella and her Glass Slipper. Printed by J. G. Rusher, 1814. C31. Tuck, Raphael. Publisher. Cinderella Paper doll with 4 costumes. Raphael Tuck, 1894. C91. Warne’s National Nursery Library. Comprising Cinderella, The Three Bears, Tom Thumb, Punch and Judy, Jack and the Bean-stalk with forty pages of coloured illustrations. Frederick Warne, 1870. C88. 1900-1949 Adams, Frank. Illustrator. Cinderella. Blackie & Sons Ltd. (1910?). C102. Anon. Fairyland Doll Dressing Folder. 10 Fairy Story dresses with hats. Philmar Ltd. 1940. C97. Attwell, Mabel Lucie. Illustrator. The Fairy Book. Thomas Nelson and Sons Ltd., (1920s). C117. Blackie. Publisher. Golden Budget of Nursery Stories. Blackie & Son, 1931. C14. Blyton, Enid. How do you do, Mary Mouse. Brockhampton Press, 1940. C74. Collin’s Bumper Books. Puck’s Cinderella Book. Collins Clear type press. 1930. C110. Farjeon, Eleanor and Herbert. The Glass Slipper. Allan Wingate (Publishers Limited). 1947. C103. Franks, Frank E. and Win Taylor. Illustrator. Cinderella. John Albinson Ltd., (1927). C115. Golding, Harry. Editor. Margaret Winifred Tarrant. Illustrator. Fairy Tales: with 30 colour plates and 18 other illustrations. Ward, Lock & Co., 1915. C44. Grimm, Jacob and Wilhelm Grimm. Grimm’s Tales from the ‘Kinder- und Haus-Märchen.’ Blackie & Son, 1920. C68. Hassall, John. Illustrator. Fairy Tale Pictures ‘Won’t tear series.’ Blackie & Son. (1930s?). C111. Kathleen, Lady. Editor. Cinderella and the Prince: a Fairy Pantomime with Songs and Music. Tales for Little People. Aldine Publishing Company, 1910. C59. McCulloch, Derek and Harry Rutherford. Illustrator. Cinderella. Sampson Low, Marston, (1940s/1950s). C113. Nelson. Publisher. Mother Goose and her Friends in Fairyland. T. Nelson & Sons, 1920. C47. Reynolds, Leila. Editor. Cinderella’s Sisters. A Halle Ltd., 1900. C57. Sherman, F.J. and Stuart Hardy. Illustrator. Grimm’s Fairy Tales. John F Shaw & Co Ltd., 1928. C104. Steedman, Amy and Paul Woodroffe. Illustrator. Nursery Tales Told to the Children. T. C. & E. C. Jack, 1908. C80. Tuck, Raphael. Publisher. Cinderella. Raphael Tuck, 1948. C95. Waltz Song: Cinderella ‘Stay in my arms.’ Peter Maurice Music Co Ltd., 1938. C96. 1950-1969 Abbott, Eleanor Vera (E.V.A.) Illustrator. Fairy Tale Doll Dressing and Story Book. Purnell (1950s?). C112. Abbott, Eleanor Vera (E.V.A.) Illustrator. Fairy Tales. Birn Brothers Ltd., (1950s?). C118. Birn. Publisher. Fairy Tale Cartoons. Birn Brothers Ltd., 1953. C81. Chivers, Lilian and Henry Barnett. Illustrators. My First Book of Fairy Tales. Odhams, 1951. C76. Collins. Publisher. Cinderella Panorama Book: Six Magnificent Scenes. Collins, 1950. C43. Colum, Padraic and Imero Gobbato. Illustrator. Girl who Sat by the Ashes. Macmillan, 1968. C7. Levy, Muriel and Evelyn Bowmar. Illustrator. Story of Cinderella. Willes & Hepworth Ltd. 1955. C79. McKean. Emma C. The Animated Cinderella Doll, 7 Beautiful Scenes. Milton Bradley Company (1957?). Muir, Percy H. English Children’s Books: 1600 to 1900. B.T. Batsford Ltd. 1958. C6. Schermele. Willy. Cinderella and the Glass Slipper. Juvenile Productions Ltd, 1953. C109. Southgate, Vera and Eric Winter. Illustrator. Cinderella: a Ladybird Easy-Reading Book. Ladybird book series 606D, 1964. C34. Walt Disney Company. Publisher. Cinderella Magic Wand Book. Dean & Son specially for Stephenson Bros Ltd Bradford. 1950. C82. 1970-1989 Ahlberg, Janet and Allan Ahlberg. Illustrator. Cinderella Show. Viking Kestrel, 1986. C49. Apsley, Brenda. Cinderella. World International Publishing Ltd. (1982?). C99. Arrowsmith, Nancy. Field Guide to the Little People. Pan, 1978. C19. Bamberger, Nicole. Walt Disney presents Cindrillon. Hachette, 1982. C119. Blyth, Alan and Emanuele Luzzati. Illustrator. Cinderella; La Cenerentola: The Story of Rossini’s Opera. Julia MacRae books a division of Franklin Watts, 1981. C29. Briggs, Katherine M. British Folk Tales and Legends: a Sampler. Granada Publishing Ltd, 1977. C73. Carruth, Jane and Shirley Tourret. Illustrator. Cinderella. Purnell Key Classics. Purnell, 1979. C36. Clarke, Harry. Illustrator. Charles Perrault’s Classic Fairy Tales. London. Chancellor Press, 1986. C89. Cole, Babette. Prince Cinders. Puffin, 1989. C10. Dahl, Roald, and Quentin Blake. Illustrator. Roald Dahl’s Revolting Rhymes. Harmondsworth Puffin, 1984. C46. Dowling, Colette. Cinderella Complex: Women’s Hidden Fear of Independence. Fontana ,1982. C67. Dundes, Alan. Cinderella, A Casebook. University of Wisconsin Press, 1988. C15. Dutfoy, Serge. Images. Charles Perrault. Author. Cendrillon. Editions du chat perche Flammarion. 1977. C48. Ellis, John Martin. One Fairy Story Too Many: The Brothers Grimm and their Tales. University of Chicago Press, 1983. C69. Evans, C. S. and Arthur Rackham. Illustrator. Cinderella. Chancellor Press, printed in Hong Kong, 1987. C86. Farjeon, Eleanor and Ernest H. Shepard. Illustrator. Glass Slipper: from the Play of the same name by Eleanor and Herbert Farjeon. Oxford University Press, 1973. C16. Fowles, John and Sheilah Beckett. Illustrator. Cinderella, adapted from Perrault’s ‘Cendrillon’ of 1697. Jonathan Cape. 1974. C3. Grimm, Jacob and Pauline Ellison. Illustrator. Grimm’s Fairy Tales. Routledge and Kegan Paul, 1981. C5 Grimm, Jacob and Wilhelm Grimm, Cenerentola e altre fiabe. DeAgostini Ragazzi, 1988. C77. Merrimack. Publisher. Cinderella. Merrimack Publishing Corp. (c1980?). C98. Murphy, Shirley Rousseau. Silver Woven in my Hair. Macdonald and Jane’s. 1977. C20. Perrault, Charles and Errol Le Cain. Illustrator. Cinderella, or, The Little Glass Slipper. Harmondsworth Picture Puffin, 1976. C65. Perrault, Charles. Cinderella, or, The Little Glass Slipper. Griffith and Farran, 1977. C75. Philip, Neil. Cinderella Story. Penguin, 1989. C22. Pienkowski, Jan. Illustrator. Charles Perrault. Author. Cinderella. Thomas Y. Crowell Company, 1978. C66. Sexton, Anne. Transformations. Oxford University Press, 1972. C18. Southgate, Vera and Brian Price-Thomas. Illustrator. Cinderella: Retold for Easy Reading. Well-Loved Tales. Ladybird book, 1981. C33. Spence, Lewis. British Fairy Origins: The Genesis and Development of Fairy Legends in British Tradition. Aquarian Press Ltd., 1981. C37. Tillett, Iris. Cinderella Army: The Women’s Land Army in Norfolk. Jim Baldwin Publishing, 1988. C64. Unwin, Stanley and Estelle Ratcliffe. Illustrator. Fairly Tales. Caedmon of Whitby, 1985. C21. Walt Disney Company. Walt Disney’s Cinderella and Her Animal Friends: A Book About Kindness. Western Publishing Company Inc., 1987. C87. 1990-1999 Anholt, Laurence and Arthur Robins. Illustrator. Cinderboy. Orchard books, 1996. C8. Ballet, Laurence and Ginette Hoffman. Illustrator. Cendrillon. Nathan, 1994. C55. Baxter, Nicola and Jon Davis. Illustrator. Cinderella. Favourite Tales. Ladybird book, 1993. C32. Brown, Debbie. Debbie Brown’s Fairy Tale Cakes. Hamlyn, 1995. C26. Buthod-Girard, Ingrid and Carlos Busquets. Illustrator. Assepoester, Chevron Hemma, 1995. C84. Climo, Shirley and Loretta Krupinski. Illustrator. Irish Cinderlad. HarperCollins, 1996. C11. Dakin, Glenn and Rowan Barnes-Murphy. Illustrator. Cinderella and the Seven Beanstalks. Brilliant Books Ltd for Tescos Stores Ltd., 1998. C83. Daly, Martin and Margo Wilson, Truth about Cinderella: a Darwinian View of Parental Love. Weidenfeld and Nicolson, 1998. C54. Ezell, Lee. Cinderella Syndrome: Discovering God’s Plan When Your Dreams Don’t Come True. Vine Books, 1994. C23. Garner, James Finn. Politically Correct Bedtime Stories. Souvenir Press, 1994. C78. Grandreams. Publisher. Cinderella: a Mini Pop-Up Storybook. Grandreams Ltd., 1995. C72. Grandreams. Publisher. Cinderella: Sticker Fun. Grandreams Ltd., 1994. C1. Grimm, Wilhelm and Eva Wenzel-Bürge. Illustrator. Aschenputtel: ein Märchen der Gebrüder Grimm. Hamburg. Carlsen Verlag, 1995. C50. Jackson, Ellen and Kevin O’Malley. Illustrator. Cinder Edna. Lothrop, Lee & Shephard, 1994. C27. Jungman, Ann and Russell Ayto. Illustrator. Cinderella and the Hot Air Balloon. Francis Lincoln, 1995. C9. Laslett, Stephanie and Carole Sharpe. Illustrator. Assepoester. Hedel. Librero, 1995. C51. Laslett, Stephanie and Carole Sharpe. Illustrator. Cinderella. Parragon, 1994. C52. Maguire, Gregory. Confessions of an Ugly Stepsister. Regan books an imprint of HarperCollins, 1999. C24.
Load more

Recommended publications
  • Introduction: Fairy Tale Films, Old Tales with a New Spin
    Notes Introduction: Fairy Tale Films, Old Tales with a New Spin 1. In terms of terminology, ‘folk tales’ are the orally distributed narratives disseminated in ‘premodern’ times, and ‘fairy tales’ their literary equiva- lent, which often utilise related themes, albeit frequently altered. The term ‘ wonder tale’ was favoured by Vladimir Propp and used to encompass both forms. The general absence of any fairies has created something of a mis- nomer yet ‘fairy tale’ is so commonly used it is unlikely to be replaced. An element of magic is often involved, although not guaranteed, particularly in many cinematic treatments, as we shall see. 2. Each show explores fairy tale features from a contemporary perspective. In Grimm a modern-day detective attempts to solve crimes based on tales from the brothers Grimm (initially) while additionally exploring his mythical ancestry. Once Upon a Time follows another detective (a female bounty hunter in this case) who takes up residence in Storybrooke, a town populated with fairy tale characters and ruled by an evil Queen called Regina. The heroine seeks to reclaim her son from Regina and break the curse that prevents resi- dents realising who they truly are. Sleepy Hollow pushes the detective prem- ise to an absurd limit in resurrecting Ichabod Crane and having him work alongside a modern-day detective investigating cult activity in the area. (Its creators, Roberto Orci and Alex Kurtzman, made a name for themselves with Hercules – which treats mythical figures with similar irreverence – and also worked on Lost, which the series references). Beauty and the Beast is based on another cult series (Ron Koslow’s 1980s CBS series of the same name) in which a male/female duo work together to solve crimes, combining procedural fea- tures with mythical elements.
    [Show full text]
  • Identity Theory and the Lunar Chronicles: Expanding the Study Of
    IDENTITY THEORY AND THE LUNAR CHRONICLES: EXPANDING THE STUDY OF IDENTITY IN YOUNG ADULT LITERATURE A Thesis Submitted to the Graduate Faculty of the North Dakota State University of Agriculture and Applied Science By Sarah Rose Silvernail In Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Major Department: English April 2017 Fargo, North Dakota North Dakota State University Graduate School Title IDENTITY THEORY AND THE LUNAR CHRONICLES: EXPANDING THE STUDY OF IDENTITY IN YOUNG ADULT LITERATURE By Sarah Rose Silvernail The Supervisory Committee certifies that this disquisition complies with North Dakota State University’s regulations and meets the accepted standards for the degree of MASTER OF ARTS SUPERVISORY COMMITTEE: Dr. Kelly Sassi Chair Dr. Alison Graham-Bertolini Dr. Pamela Emanuelson Approved: April 7, 2017 Dr. Elizabeth Birmingham Date Department Chair ABSTRACT This Master’s Thesis applies Identity Theory from Social Psychology to The Lunar Chronicles, a young adult novel series by Marissa Meyer. In this thesis, I explain the theory in detail, apply it to the text, and discuss what can be gained by applying such a theory to young adult literature. Young adult literature (YAL) works with the concept of identity, and applying a Social Psychological theory of identity to YAL can provide a new vantage point from which to examine the concept of identity as portrayed in YAL. Through my application of Identity Theory to the texts, I demonstrate how we can apply this theory to young adult novels, focusing on three specific identities of the main character, Cinder. Following this analysis, I discuss potential pedagogical implications of this type of textual analysis in addition to implications for the field of YAL itself.
    [Show full text]
  • The Liberation of the Heroine in Red Riding Hood : a Study on Feminist and Postfeminist Discourses
    Lingnan University Digital Commons @ Lingnan University Theses & Dissertations Department of English 2-11-2015 The liberation of the heroine in Red Riding Hood : a study on feminist and postfeminist discourses Hiu Yan CHENG Follow this and additional works at: https://commons.ln.edu.hk/eng_etd Part of the English Language and Literature Commons, and the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Cheng, H. Y. (2015). The liberation of the heroine in Red Riding Hood: A study on feminist and postfeminist discourses (Master's thesis, Lingnan University, Hong Kong). Retrieved from http://commons.ln.edu.hk/eng_etd/10 This Thesis is brought to you for free and open access by the Department of English at Digital Commons @ Lingnan University. It has been accepted for inclusion in Theses & Dissertations by an authorized administrator of Digital Commons @ Lingnan University. Terms of Use The copyright of this thesis is owned by its author. Any reproduction, adaptation, distribution or dissemination of this thesis without express authorization is strictly prohibited. All rights reserved. THE LIBERATION OF THE HEROINE IN RED RIDING HOOD: A STUDY ON FEMINIST AND POSTFEMINIST DISCOURSES CHENG Hiu Yan MPHIL Lingnan University 2015 THE LIBERATION OF THE HEROINE IN RED RIDING HOOD: A STUDY ON FEMINIST AND POSTFEMINIST DISCOURSES by CHENG Hiu Yan A thesis submitted in partial fulfillment of the requirements for the Degree of Master of Philosophy in English Lingnan University 2015 ABSTRACT The Liberation of the Heroine in Red Riding Hood: a Study on Feminist and Postfeminist Discourses by CHENG Hiu Yan Master of Philosophy Fairy tales’ magic is powerful because it has the potential to enter different cultures at different times.
    [Show full text]
  • And the Fairy Tales Stephen Spitalny
    experience with children’s play and are in a unique of WECAN from 1983-2001, and is the previous editor experience to share their insights—in workshops and of this newsletter. courses, in the classroom with visitors observing, in play days organized for community children, in articles for local papers and magazines. It is vital that play remain a central part of childhood. It contributes to all aspects of children’s development—physical, social, emotional and cognitive. Also, there are physical and mental illnesses that result when play disappears, and they can be serious in nature. For the sake of the children today, their future and that of our society we need to do all we can to protect play and restore it. Endnotes: 1 From Education as a Force for Social Change, August 9, 1919, pg. 11. Quoted in On the Play of the Child, WECAN (Spring Valley, 2004) pg 10. 2 From Roots of Education, April 16, 1924, pg. 60. Quoted in On the Play of the Child, WECAN (Spring Valley, 2004) pg 11. Joan Almon is a co-founder and the U.S. Coordinator of the Alliance for Childhood. She is the Co-General Secretary of the Anthroposophical Society in America. Joan taught kindergarten for many years at Acorn Hill in Maryland. She was the co-founder and chairperson The Name of “John” and the Fairy Tales Stephen Spitalny This is the second in a series of article looking inner tendencies; it needs the wonderful soul- into the depths of fairy tales and trying to shed nourishment it finds in fairy tale pictures, for light on some of what can be found within.
    [Show full text]
  • Defining and Subverting the Female Beauty Ideal in Fairy Tale Narratives and Films Through Grotesque Aesthetics
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 9-10-2015 12:00 AM Who's the Fairest of Them All? Defining and Subverting the Female Beauty Ideal in Fairy Tale Narratives and Films through Grotesque Aesthetics Leah Persaud The University of Western Ontario Supervisor Dr. Angela Borchert The University of Western Ontario Graduate Program in Comparative Literature A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Leah Persaud 2015 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Comparative Literature Commons Recommended Citation Persaud, Leah, "Who's the Fairest of Them All? Defining and Subverting the Female Beauty Ideal in Fairy Tale Narratives and Films through Grotesque Aesthetics" (2015). Electronic Thesis and Dissertation Repository. 3244. https://ir.lib.uwo.ca/etd/3244 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. WHO’S THE FAIREST OF THEM ALL? DEFINING AND SUBVERTING THE FEMALE BEAUTY IDEAL IN FAIRY TALE NARRATIVES AND FILMS THROUGH GROTESQUE AESTHETICS (Thesis format: Monograph) by Leah Persaud Graduate Program in Comparative Literature A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Leah Persaud 2015 Abstract This thesis seeks to explore the ways in which women and beauty are depicted in the fairy tales of Giambattista Basile, the Grimm Brothers, and 21st century fairy tale films.
    [Show full text]
  • TEACHER RESOURCE PACK for Teachers Working with Pupils in Years 4 - 6 PHILIP PULLMAN’S GRIMM TALES
    PHILIP PUllMAn’S gRiMM TAlES TEACHER RESOURCE PACK FOR teachers wORKing wiTH pupilS in YEARS 4 - 6 PHILIP PUllMAn’S gRiMM TAlES Adapted for the stage by Philip Wilson Directed by Kirsty Housley from 13 nOv 2018 - 6 jAn 2019 FOR PUPILS IN SCHOOl years 4 - 6 OnCE upon A christmas... A most delicious selection of Philip Pullman’s favourite fairytales by the Brothers Grimm, re-told and re-worked for this Christmas. Enter a world of powerful witches, enchanted forest creatures, careless parents and fearless children as they embark on adventures full of magic, gore, friendship, and bravery. But beware, these gleefully dark and much-loved tales won’t be quite what you expect… Duration: Approx 2 hrs 10 mins (incl. interval) Grimm Tales For Young and Old Copyright © 2012, Phillip Pullman. All rights reserved. First published by Penguin Classics in 2012. Page 2 TEACHER RESOURCES COnTEnTS introdUCTiOn TO the pack p. 4 AbOUT the Play p. 6 MAKing the Play: interviEw wiTH director Kirsty HOUSlEY p. 8 dRAMA activiTiES - OverviEw p. 11 SEQUEnCE OnE - “OnCE UPOn A TiME” TO “HAPPILY EvER AFTER” p. 12 sequenCE TwO - the bEginning OF the story p. 15 sequenCE THREE - RAPUnZEl STORY wHOOSH p. 22 sequenCE FOUR - RAPUnZEl’S dREAM p. 24 sequenCE FivE - THE WITCH’S PROMiSES: wRiTING IN ROlE p. 26 RESOURCES FOR ACTiviTiES p. 29 Page 3 TEACHER RESOURCES INTROdUCTiOn This is the primary school pack for the Unicorn’s production of Philip Pullman’s Grimm Tales in Autumn 2018. The Unicorn production is an adaptation by Philip Wilson of Philip Pullman’s retelling of the classic fairytales collected in 19th century Germany by Jacob and Wilhelm Grimm.
    [Show full text]
  • Working Title
    Three Drops of Blood: Fairy Tales and Their Significance for Constructed Families Carol Ann Lefevre Thesis Submitted for the Degree of Doctor of Philosophy in Creative Writing Discipline of English School of Humanities and Social Sciences The University of Adelaide South Australia June 2009 Contents 1. Abstract.……………………………………………………………iii 2. Statement of Originality…………………………………………..v 3. Introduction………………………………………………………...1 4. Identity and Maternal Blood in “The Goose Girl”………………9 5 “Cinderella”: The Parented Orphan and the ‘Motherline’….....19 6. Abandonment, Exploitation and the Unconscious Woman in “Sleeping Beauty”………………………………………….30 7. The Adoptive Mother and Maternal Gaze in “Little Snow White”………………………………………..44 8. “Rapunzel”: The Adoptee as Captive and Commodity………..56 9. Adoption and Difference in “The Ugly Duckling”……………..65 10. Conclusion……………………………………………………...…71 11. Appendix – The Child in the Red Coat: Notes on an Intuitive Writing Process………………………………....76 12. Bibliography................................................……………………...86 13. List of Images in the Text…..……………………………………89 ii Abstract In an outback town, Esther Hayes looks out of a schoolhouse window and sees three children struck by lightning; one of them is her son, Michael. Silenced by grief, Esther leaves her young daughter, Aurora, to fend for herself; against a backdrop of an absent father and maternal neglect, the child takes comfort wherever she can, but the fierce attachments she forms never seem to last until, as an adult, she travels to her father’s native Ireland. If You Were Mine employs elements of well-known fairy tales and explores themes of maternal abandonment and loss, as well as the consequences of adoption, in a narrative that laments the perilous nature of children’s lives.
    [Show full text]
  • The Tales of the Grimm Brothers in Colombia: Introduction, Dissemination, and Reception
    Wayne State University Wayne State University Dissertations 1-1-2012 The alest of the grimm brothers in colombia: introduction, dissemination, and reception Alexandra Michaelis-Vultorius Wayne State University, Follow this and additional works at: http://digitalcommons.wayne.edu/oa_dissertations Part of the German Literature Commons, and the Modern Languages Commons Recommended Citation Michaelis-Vultorius, Alexandra, "The alet s of the grimm brothers in colombia: introduction, dissemination, and reception" (2012). Wayne State University Dissertations. Paper 386. This Open Access Dissertation is brought to you for free and open access by DigitalCommons@WayneState. It has been accepted for inclusion in Wayne State University Dissertations by an authorized administrator of DigitalCommons@WayneState. THE TALES OF THE GRIMM BROTHERS IN COLOMBIA: INTRODUCTION, DISSEMINATION, AND RECEPTION by ALEXANDRA MICHAELIS-VULTORIUS DISSERTATION Submitted to the Graduate School of Wayne State University, Detroit, Michigan in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY 2011 MAJOR: MODERN LANGUAGES (German Studies) Approved by: __________________________________ Advisor Date __________________________________ __________________________________ __________________________________ __________________________________ © COPYRIGHT BY ALEXANDRA MICHAELIS-VULTORIUS 2011 All Rights Reserved DEDICATION To my parents, Lucio and Clemencia, for your unconditional love and support, for instilling in me the joy of learning, and for believing in happy endings. ii ACKNOWLEDGEMENTS This journey with the Brothers Grimm was made possible through the valuable help, expertise, and kindness of a great number of people. First and foremost I want to thank my advisor and mentor, Professor Don Haase. You have been a wonderful teacher and a great inspiration for me over the past years. I am deeply grateful for your insight, guidance, dedication, and infinite patience throughout the writing of this dissertation.
    [Show full text]
  • The Original Grimm Brothers' Fairy Tales Aim to Teach Important Morals About Life, Just Like the Disney Versions That We Grew up With
    The Grimm Fairy Tales: An Analysis of Family and Society Megan Mohlke Indiana University-Purdue University Indianapolis The original Grimm Brothers' fairy tales aim to teach important morals about life, just like the Disney versions that we grew up with. However, these stories also show very common themes about the structures of family and society as a whole. To analyze how these themes are portrayed throughout the Grimm tales, I read the German versions of the fairy tales of Cinderella, Sleeping Beauty, Snow White, Little Red Riding Hood, Rapunzel and Hansel and Gretel. In my honors project on these stories, I deduced that there is an emphasis on family structures and society's yearning for social mobility. These issues are mainly explained through the exaggerated portrayal of beauty, violence, poverty and wealth. Each story supports a common theme for family structure. The mothers, step mothers and women in general are often greedy and willing to do heinous things to achieve wealth and beauty. The fathers, although they mean well for their family, are very weak and submissive and thus make mistakes that often have grave consequences. As a result of the conflicts from the parental figures, the children are always the ones who suffer. Although they must encounter dangerous and chaotic situations, they are always successful in either saving themselves or being rescued by a prince. Many stories begin with starvation and poverty and progress to a successful ending of wealth and a higher social standing - usually as a result of marriage. .
    [Show full text]
  • Melting Pot Rapunzel by Jay Voorhies a Thesis Presented to the Honors
    Melting Pot Rapunzel by Jay Voorhies A Thesis presented to the Honors College of Middle Tennessee State University in partial fulfillment of the requirements for graduation from the University Honors College April 2015 TABLE OF CONTENTS Page Signature Page……………………………………………………………………….……..………i Acknowledgements…………………………………………………………………..........……….ii Abstract……………………………………………………………………………..........……......iii Table of Contents………………………………………………………………………...……......iv List of Figures……………………………………………………………………………………...v Part I – Research Component Chapter 1 – Organismic Rapunzel………………………………………...…………..…..1 Chapter 2 – The Maiden-in-a-Tower Tale…………………………………….………..…3 Chapter 3 – “Rapunzel”…………………………………………………..…………….....4 Chapter 4 –“Petrosinella”……………………………………………………….……..….9 Chapter 5 – Mediterranean Variants…………………………………………………......13 Chapter 6 – “Persinette”……………………………………………………………….....16 Chapter 7 – French Variants……………………….………………………….………....21 Chapter 8 – “Louliyya Daughter of Morgan”………………………………………..…..24 Chapter 9 – The Legend of Saint Barbara…………………………………………..…...28 Chapter 10 – “Zal and Rudabeh”…………………………………………………….......30 Chapter 11 –“Mother and Daughter”…………………………………………….........…31 Chapter 12 – Sugar Cane: A Caribbean Rapunzel………………………………………33 Chapter 13 – Tangled………………………………………………………….……...….36 Conclusion…………………………………………………………………………...…..40 Part II – Creative Component “Yamaima”…………………………………………………………………..………..…42 Works Cited…………………………………………………………………..………….60 LIST OF FIGURES Figure I: “Yamaima in her Tower” Figure II: “Yamamba’s
    [Show full text]
  • Perrault's LITTLE RED RIDING HOOD
    Perrault’s LITTLE RED RIDING HOOD “Little Red Riding Hood” began as an oral folk tale and continued to be told to children for centuries before being published in a French version by Charles Perrault in 1697, and then in 1812 in the German version by Jacob and Wilhelm Grimm. Over the years, scholars have piled an entire cosmos of meanings on this small girl’s shoulders. Some call her tale a seasonal myth, an allegory of the sun swallowed by night, or the personification of Good triumphing over Evil. Her basket of wine and cakes, it’s said, represents Christian Commu- nion; her red cape stands for menstrual blood. Some see the tale in Freudi- an terms as the Ego overcome by the Id; others see it as symbolic of the relationship between Man and Woman. And inevitably the tale has been a vehicle for imparting sexual ethics in keeping with the social fabric of the times. Tellers have consciously and subconsciously manipulated the plot to portray a seduction by a temptress, the rape of a virgin or the passage of a young girl into womanhood.1 It is hard to believe that the anonymous creator of the tale would have had the slightest notion of what Freudians, Jungians, anthropologists, deconstruc- tionists, and others have read into it. The story is worth examining because it reveals the genius of the original storyteller. It is noteworthy that Catherine Orenstein assumes that Perrault’s version “must be a truncated, fragmentary version of the original oral tale.”2 The same applies to the version by the brothers Grimm because it was derived from Perrault.3 Much has been made of the fact that the little girl wears a red riding hood.
    [Show full text]
  • Eucharist and Temptation in Hansel and Gretel
    Journal of Literature and Art Studies, July 2018, Vol. 8, No. 7, 1007-1014 doi: 10.17265/2159-5836/2018.07.003 D DAVID PUBLISHING Ordinary and Special Breads: Eucharist and Temptation in Hansel and Gretel Judith Lanzendorfer University of Findlay, Ohio, USA This article focuses on how Hansel and Gretel, collected by Wilhelm and Jacob Grimm in Children’s and Household Tales (1812) should be seen as more than a folktale for small children; it can, instead, be read as a highly theological work related to the Calvinist view of the Eucharist and directed more to young adults and adults. The Grimm brothers, who were strict Calvinists, viewed the tales as being useful in instilling moral lessons to children. As such, Hansel and Gretel can be seen as highlighting the tension between Calvinist and Catholic perspectives on the Eucharist. It is important when teaching the text to consider this culturally relative context. Doing so helps to highlight the original didactic purpose for Children’s and Household Tales and how we can revisit and reclaim the moral initiative of the book in a modern context. Keywords: Grimm, Calvinist, Eucharist, folktale There have been many articles written about Hansel and Gretel, published by Wilhelm and Jacob Grimm in 1812 in Children’s and Household Tales. Points of analysis have focused on gender and age (Henneberg, 2010), to the effect that the tale has on the psychological development of the audience members (Wittmann, 2011) to manifestations of the tale in modern media (Rudy & Greenhill, 2014). Perhaps the most influential articles and books, though, are those by Jack Zipes, including the modern English translation of Children’s and Household Tales (2014), to “Who’s Afraid of the Brother’s Grimm: Socialization and Politicization Through Fairy Tales” (1979-1980) to the “Use and Abuse of Folk and Fairy Tales with Children” (1977).
    [Show full text]