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Volume One: Arthur and the History of Jack and the Giants
The Arthuriad – Volume One CONTENTS ARTICLE 1 Jack & Arthur: An Introduction to Jack the Giant-Killer DOCUMENTS 5 The History of Jack and the Giants (1787) 19 The 1711 Text of The History of Jack and the Giants 27 Jack the Giant Killer: a c. 1820 Penny Book 32 Some Arthurian Giant-Killings Jack & Arthur: An Introduction to Jack the Giant-Killer Caitlin R. Green The tale of Jack the Giant-Killer is one that has held considerable fascination for English readers. The combination of gruesome violence, fantastic heroism and low cunning that the dispatch of each giant involves gained the tale numerous fans in the eighteenth century, including Dr Johnson and Henry Fielding.1 It did, indeed, inspire both a farce2 and a ‘musical entertainment’3 in the middle of that century. However, despite this popularity the actual genesis of Jack and his tale remains somewhat obscure. The present collection of source materials is provided as an accompaniment to my own study of the origins of The History of Jack and the Giants and its place within the wider Arthurian legend, published as ‘Tom Thumb and Jack the Giant-Killer: Two Arthurian Fairy Tales?’, Folklore, 118.2 (2007), pp. 123-40. The curious thing about Jack is that – in contrast to that other fairy-tale contemporary of King Arthur’s, Tom Thumb – there is no trace of him to be found before the early eighteenth century. The first reference to him comes in 1708 and the earliest known (now lost) chapbook to have told of his deeds was dated 1711.4 He does not appear in Thackeray’s catalogue of chapbooks -
Corpses, Coasts, and Carriages: Gothic Cornwall, 1840-1913
Corpses, Coasts, and Carriages: Gothic Cornwall, 1840-1913 Submitted by Joan Passey to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English in September 2019 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Joan Passey Signature: ………………………………………………………….. Words: 91,425 1 Abstract While there are defined Irish, Welsh, and Scottish Gothic traditions, there has been a notable critical absence of a Cornish Gothic tradition, despite multiple canonical and less-canonical authors penning Gothic stories set in Cornwall throughout the long nineteenth century. This critical oversight is part of a longer tradition of eliding Cornwall from literary and cultural histories—even from those to which it has particular relevance, such as histories of the industrial revolution (in which its mining industry was a major contributor), and the birth of the tourist industry, which has shaped the county and its economy through to the present day. This thesis will rectify this gap in criticism to propose a Cornish Gothic tradition. It will investigate Gothic texts set in Cornwall in the long nineteenth century to establish a distinct and particular tradition entrenched in Cornwall’s own quest for particularity from other Celtic nations and English regions. It will demonstrate how the boom in Cornish Gothic texts was spurred by major changes occurring in the county in the period, including being the last county to be connected to the national rail network, the death of the mining industry, the birth of the tourist industry, large-scale maritime disaster on its coasts, and the resituating of the legendary King Arthur in Tintagel with the publication of Tennyson’s Idylls of the King. -
Jack and the Baked Beanstalk Free
FREE JACK AND THE BAKED BEANSTALK PDF Colin Stimpson | 40 pages | 01 Nov 2013 | Templar Publishing | 9781848772373 | English | Surrey, United Kingdom Jack and the Beanstalk - Wikipedia As you can see from the cover art, this picture book has been illustrated by someone with a lot of experience in digital art — as a Jack and the Baked Beanstalk table book of illustrations this stands alone as an exhibition of beautiful colour, wonderfully composed perspective drawings and interesting character design. The O. Jack And The Beanstalk is, at its heart, a male coming-of-age talein a milieu where boys must learn to be the income earners for the females in their family. Is that what the giant stands for here? I would add, in the case of the modern Klassen story, the thief is duly punished. He — or she? Not so in the original Jack Jack and the Baked Beanstalk the Beanstalk. Jack is richly rewarded for his thievery Jack and the Baked Beanstalk daring. The butcher who sells better sausages ends up making more money and eventually puts the inferior butcher out of business. Consumers win. What about the ideology in this book? This is no idealistic view of capitalism; it is a critique. We love stories starring underdogs. Both are very high, thick structures wending and twisting high into the sky. The bright green of the beanstalk contrasts beautifully against the monochromatic, drab and rainy city. The story structure is interesting. They both share the new situation, along with the mother. What might be the reason for uniting Jack and The Giant like this? If only the little guy could crush the big corporations with a bit of magic. -
The Arthuriad – Volume One CONTENTS
The Arthuriad – Volume One CONTENTS ARTICLE 1 Jack & Arthur: An Introduction to Jack the Giant-Killer DOCUMENTS 5 The History of Jack and the Giants (1787) 19 The 1711 Text of The History of Jack and the Giants 27 Jack the Giant Killer: a c. 1820 Penny Book 32 Some Arthurian Giant-Killings Jack & Arthur: An Introduction to Jack the Giant-Killer Thomas Green The tale of Jack the Giant-Killer is one that has held considerable fascination for English readers. The combination of gruesome violence, fantastic heroism and low cunning that the dispatch of each giant involves gained the tale numerous fans in the eighteenth century, including Dr Johnson and Henry Fielding.1 It did, indeed, inspire both a farce2 and a ‘musical entertainment’3 in the middle of that century. However, despite this popularity the actual genesis of Jack and his tale remains somewhat obscure. The present collection of source materials is provided as an accompaniment to my own study of the origins of The History of Jack and the Giants and its place within the wider Arthurian legend, published as ‘Tom Thumb and Jack the Giant-Killer: Two Arthurian Fairy Tales?’, Folklore, 118.2 (2007), pp. 123-40. The curious thing about Jack is that – in contrast to that other fairy-tale contemporary of King Arthur’s, Tom Thumb – there is no trace of him to be found before the early eighteenth century. The first reference to him comes in 1708 and the earliest known (now lost) chapbook to have told of his deeds was dated 1711.4 He does not appear in Thackeray’s catalogue of chapbooks in -
Stranger at the Wedding
Cabinet des Fées Cabinet des Fées a fairy tale journal Cabinet des Fées a fairy tale journal Volume One, No. 2/3 Copyright © 2007 by Cabinet des Fées Cover by Charles Vess Interior illustrations by Daniel Trout, copyright © 2007. The individual stories, articles and illustrations are copyrighted by their respective authors and artists. All rights reserved. Published by Prime Books http://www.prime-books.com For more stories, poetry, art, and information on forthcoming volumes, visit http://www.cabinet-des-fees.com CONTENTS The Significant Other ....... Helen Pilinovsky 7 Katabasis ....................Sonya Taaffe 14 Stranger at the Wedding .........R.W. Day 16 The Devil Factory ............. Bret Fetzer 24 The Hiker’s Tale ............... Mike Allen 35 Giantkiller ....................A.C. Wise 59 The Tower ............ JoSelle Vanderhooft 75 Lost or Forgotten ......... Janni Lee Simner 87 Night of the Girl Goblin ....Amal El-Mohtar 95 The Cat-Skin Coat ....... Jessica Paige Wick 98 Vox ....................Kimberly DeCina 108 Reformulating Happily Ever After: Fairy Tales and Sexuality in YA Literature ....... Christine Butterworth-McDermott 132 “The Lady of the House of Love”: Angela Carter’s Vampiric Sleeping Beauty ........................ Jamil Mustafa 145 From Anxious Canons to Hysterical Texts: A Theory of Literary Revision ...................... Jennifer Banash 158 About the Editrices ........................ 181 The Significant Other Helen Pilinovsky LIONS AND TIGERS AND BEARS. Oh, my! How much more so the case if the refrain concerns manticores, phoenix and chimerae? A major preoccupation of the fairy tale lies in its concern with the Other. In the first issue of this journal, we had a brief chance to discuss the fact that fairy tales have had a long and honorable history of representing the Other, with the forms taken by that Other serving as apt representation of the particular fears of society; in this issue, let us look more specifically at the nature of the Other, both conceptually, and specifically. -
Jack the Giant Killer Information File (PDF Okt
Cor Hendriks, Jack the Giant Killer Information File (PDF okt. ’16) 1 Jack the Giant Killer From Wikipedia, the free encyclopedia Chapbook title page "Jack the Giant Killer" is a British fairy tale and legend about a plucky (presumably) young adult who slays a number of giants during King Arthur's reign. The tale is characterised by violence, gore and blood-letting. Giants are prominent in Cornish folklore, Breton mythology and Welsh Bardic lore. Some parallels to elements and incidents in Norse mythology have been detected in the tale, and the trappings of Jack's last adventure with the Giant Galigantus suggest parallels with French and Breton fairy tales such as Bluebeard. Jack's belt is similar to the belt in "The Valiant Little Tailor", and his magical sword, shoes, cap, and cloak are similar to those owned by Tom Thumb or those found in Welsh and Norse mythology. Neither Jack nor his tale are referenced in English literature prior to the eighteenth century, and his story did not appear in print until 1711. It is probable an enterprising publisher assembled a number of anecdotes about giants to form the 1711 tale. One scholar speculates the public had grown weary of King Arthur – the greatest of all giant killers – and Jack was created to fill his shoes. Henry Fielding,John Newbery, Samuel Johnson, Boswell, and William Cowper were familiar with the tale. In 1962, a feature-length film based on the tale was released starring Kerwin Mathews. The film made extensive use of stop motion in the manner of Ray Harryhausen. -
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Issue 51 • Spring 2011 MallornThe Journal of the Tolkien Society Mallorn The Journal of the Tolkien Society Issue 51 • Spring 2011 Editor: Henry Gee editorial Production & 4 Henry Gee unearths the roots of Ents design: Colin Sullivan reviews Cover art: Horse and Riders 9 Louis Markos on Restoring Beauty by Becky Hitchin 10 Troels Forchhammer on Tolkien Studies Vol. VII Inside: Phyllis Berka: 11 Chad Chisholm on Toy Story 3 and The Book of Eli Smaug (p. 2), Beorn’s Hall (p. 8); Becky Hitchin: Dwarf commentary Knotwork (p. 12); Glendon 16 José Manuel Ferrández Bru J. R. R. Tolkien and the Spanish civil war Mellow: Slate Fragments 19 Dale Nelson There and Back Again and other travel books of the 1930s (p. 13),Forever Painting study 23 Kusumita Pedersen The ‘divine passive’ in The Lord of the Rings (p. 36); Jef Murray: The Grey 27 Sarah J Sprouse Ending the dualism of nature and industry in The Lord of the Company (p. 15), Chetwood Rings (p. 24), Hobbiton (p. 29), 31 Bud Scott Tolkien’s use of free will versus predestination in The Lord of the Rings Théoden Fallen sketch (p. 34), Helm’s Deep (p. 45), Standard poetry Bearer sketch (50); Colin 34 Tuilinde The Paths of the Dead Sullivan: Hardknott Fort (p. 20); Bernadette Barnes: fiction Wyoming (pp. 33, 51); Henry 37 Elizabeth Counihan How many beans make five? Gee (pp. 35, 38); Alan Hyde 42 Diane Forest-Hill The tale of Aud Sigurdsdottir (p. 43); Teresa Kirkpatrick: 44 Jeff Crook Snicker-Snack and the Queen of Egypt Yavanna Kementári (p. -
Toxic Pastoral: Comic Failure and Ironic Nostalgia in Contemporary British Environmental Theatre David Farrier, University of Edinburgh1
Journal of Ecocriticism 6(2) July 2014 Toxic Pastoral: Comic Failure and Ironic Nostalgia in Contemporary British Environmental Theatre David Farrier, University of Edinburgh1 Abstract In what follows, I will read two recent versions of the pastoral—Jez Butterworth’s Jerusalem (2009) and Thomas Eccleshare’s Pastoral (2013)—as examples of the vitality which literary comic modes can offer to thinking about ecological dilemmas. Both invert and frustrate the conventional pastoral movement, wherein the equalising effects of release, reconciliation, and return are not realised. Rather, each play subjects the pastoral mode to actual or threatened displacement—in Eccleshare’s play the forest invades the city, whereas Butterworth dramatizes the efforts of civic authority to evict the green man from his wood—and makes this failure the basis of its exploration of the possibilities available in an eco-comic mode; finally, via the presentation of toxicity as a trope to, as Buell puts it, “unsettle[…] received assumptions about the boundaries of nature writing and environmental representation”, (Buell, 1998, 640) each play represents a version of pastoral that is alert and able to give form to the ironies, anxieties, and absurdities that inhere in contemporary environmental discourse. Pastoral, Post-pastoral, and Pastoral Comedy In his introduction to the Independent Panel on Forestry’s Final Report in July 2012, the Bishop of Liverpool, the Rt Rev James Jones, issued a familiar, pastoral lament: “as a society we have lost sight of the value of trees and woodlands,” he said, and thus of our connectedness “with nature, with history and with each other” (5). -
This Spectred Isle Cavan Scott Explores the Countryside’S Strangest Tales the Mermaid of Zennor
Published in Countryfile Magazine THIS SPECTRED ISLE Cavan Scott explores the countryside’s strangest tales The Mermaid of Zennor Every night the fishermen of Zennor in Cornwall would sing praises to God for their catch in the local parish church and every night a beautiful, if awkward, woman would slip into the back of the congregation to watch. The reason she came was Mathew Trewella, one of the fishermen, who was famed for having the finest voice on the coast. One day, the strange visitor couldn’t conceal her delight when Mathew sang, and she let out a soft sigh. Mathew turned and on seeing the woman, who seemed to have seaweed woven into her hair, he fell madly in love. His desire turned to confusion when the girl suddenly bolted for the door, tripping over her dress in her haste. From beneath the gown the parishioners caught a glimpse of shining, silver scales. Crying that they had a demon in their midst, the congregation turned into a mob and gave chase. Mathew ran scooped up his love and raced into the sea with her, vanishing beneath ahead and found the woman floundering on the shore, a sparkling fishtail the waves, never to be seen again. where her legs should be. He had discovered that he was in the presence However, the fishermen of yesteryear told how they could still hear him of Morveren, the mermaid daughter of Llyr, king of the sea. The beautiful singing from beneath the waves. If his song was high then the sea would mermaid had been tempted from her father’s underwater kingdom by be calm, but if it was low, then his father-in-law Llyr was sending a storm Mathew’s lilting voice, but now was in danger. -
The History of John Giller, the Giant Killer
The History of John Giller, The Giant Killer By Thurlo Grumbo Classic Literature Collection World Public Library.org Title: The History of John Giller, The Giant Killer Author: Thurlo Grumbo Language: English Subject: Fiction, Literature, Children's literature Publisher: World Public Library Association Copyright © 2008, All Rights Reserved Worldwide by World Public Library, www.WorldLibrary.net World Public Library The World Public Library, www.WorldLibrary.net is an effort to preserve and disseminate classic works of literature, serials, bibliographies, dictionaries, encyclopedias, and other reference works in a number of languages and countries around the world. Our mission is to serve the public, aid students and educators by providing public access to the world's most complete collection of electronic books on-line as well as offer a variety of services and resources that support and strengthen the instructional programs of education, elementary through post baccalaureate studies. This file was produced as part of the "eBook Campaign" to promote literacy, accessibility, and enhanced reading. Authors, publishers, libraries and technologists unite to expand reading with eBooks. Support online literacy by becoming a member of the World Public Library, http://www.WorldLibrary.net/Join.htm. Copyright © 2008, All Rights Reserved Worldwide by World Public Library, www.WorldLibrary.net www.worldlibrary.net *This eBook has certain copyright implications you should read.* This book is copyrighted by the World Public Library. With permission copies may be distributed so long as such copies (1) are for your or others personal use only, and (2) are not distributed or used commercially. Prohibited distribution includes any service that offers this file for download or commercial distribution in any form, (See complete disclaimer http://WorldLibrary.net/Copyrights.html). -
Speaking Names У Казках І Народній Творчості: Лінгвокогнітивний Потенціал
Закарпатські філологічні студії УДК 811.111’42 DOI https://doi.org/10.32782/tps2663-4880/2019.12.14 SPEAKING NAMES У КАЗКАХ І НАРОДНІЙ ТВОРЧОСТІ: ЛІНГВОКОГНІТИВНИЙ ПОТЕНЦІАЛ SPEAKING NAMES IN FAIRY-TALES AND FOLKLORE: LINGUOCOGNITIVE POTENTIAL Давидова Т.В., orcid.org/ 000-0001-5815-8503 кандидат філологічних наук, старший викладач кафедри практики англійської мови Сумського державного педагогічного університету імені А.С. Макаренка Стаття присвячена дослідженню онімів у паремійному фонді англійської мови: прислів’ях, приказках, казках. Speaking names – нетермінологічна назва онімів, вживана в лінгвістичних колах. Власні назви (оніми) належать до мовних універсалій: вони існують в усіх мовах світу, але в кожній мові мають свої специфічні ознаки. У результаті пізнавальної діяльності людина категоризує інформацію в межах певної концептуальної картини світу. Оскільки картини світу характеризуються національною специфікою, то носії різних мов можуть бачити та членувати світ по-різному, крізь призму своїх мов. У зв’язку з цим у статті здійснено спробу вивчити особливості мислення представників англомовної культури та зрозуміти специфічні риси їх менталітету. У статті окреслено семантичний простір онімів, здійснено їх семантичну типологізацію за тематичним принци- пом, встановлено їхній лінгвокогнітивний потенціал у паремійному фонді англійської мови та у казках. У процесі дослідження встановлено, що, з одного боку, ізольований від контексту онім, як і будь-яка лексична одиниця, має денотативне значення і позначає референта, а з іншого боку, саме у тексті / дискурсі можна експлікувати такі додаткові відтінки оніма, як суб’єктивна авторська оцінка, емотивність, експресивність, функціонально-стилістична забарвленість. Семантичний аналіз антропонімів доводить антропоцентричну спрямованість англомовної казки. Виявлено, що за кількісними показниками зооніми переважають антропоніми, проте більшість власних назв з анімалістичним компонентом на позначення тварин-референтів алюзивно номінують чесноти чи вади людини, що свідчить про напучуваний характер казок. -
The Blood of an Englishman Pdf, Epub, Ebook
THE BLOOD OF AN ENGLISHMAN PDF, EPUB, EBOOK M C Beaton | 294 pages | 16 Sep 2014 | Minotaur Books | 9780312616267 | English | New York, United States The Blood of an Englishman PDF Book While bookselling, by chance, she got an offer from the Scottish Da Like her on Facebook! Let's finish with Shakespeare's alternate version, from King Lear , She sees polic Agatha Raisin is normally like comfort food for me: Always a pleasure and something to look forward to. A nonsense rhyme, usually heard as part of the Jack The Giant Killer fable. Just a moment while we sign you in to your Goodreads account. This was a free review copy obtained via Goodreads. Not that I really care who dunit, or feel anything for anyone, except a faint irritation at Agatha. The Blood of an Englishman provided me with several hours of reading bliss. A detective novel, part of the Zondi and Kramer series, told with tongue-in-cheek racist humour. I am a doubter for the following reasons: 1. They returned to Britain and bought a croft house and croft in Sutherland where Harry reared a flock of black sheep. Gareth Craven, heading the list of suspects, asks Agatha to investigate. Characters Blunderbore Cormoran Thunderdell. Enlarge cover. That done, he decided it was time to again step down, and retired to return to writing. I normally love this series on audiobook but this one was a chore to listen to and get through. No characterisation, no plot development, switching from scene to scene and with weeks passing without explanation, Agatha herself flitting from man to man without rhyme or reason - this is not anywhere near as good as the ear Having got this book out of the library for my mum, knowing how much she enjoys an Agatha Raisin and remembering reading the first books in the series with my daughter when she was about 13 I thought I would give it a go.