Harvard Summer Session 2015 SWGS S-1421, Syllabus Draft 6/24/2105
When the Princess Saves Herself: Gender and Retold Fairy Tales
Instructor: Dr. Keridwen N. Luis [email protected] Office Hours: Mon, Wed, 3-5 Office: Boylston G25 Time: Mon & Wed, 6:30-9:30 pm Location: Lamont Library 230 Class Site: https://canvas.harvard.edu/courses/3044
Course Description: Folklore and fairy tales have an enduring appeal in cultures across the world: so enduring that literature and media retell them again and again. From mass media such as Disney films to well-known novelists like Margaret Atwood and Terry Pratchett, our authors, filmmakers, and storytellers revisit, revise, and reinvent stories we all know. When such stories are retold, they are retold to suit our current sensibilities: our children's editions of Grimm's fairy tales no longer include "The Juniper Tree" (otherwise known as "My Mother, She Killed Me, My Father, He Ate Me") and very few villains dance to death in red-hot shoes. But nowhere is the profound influence of folk process (the way we retell, change, and keep folklore living) found more strongly than in how we portray men and women in fairy tales. Is Cinderella's "virtuous suffering" a a good model for our daughters? Must a young man be a literal prince to succeed in love? Is external beauty a reliable way to judge whether a person is good? This course will introduce students to the study of male and female roles in traditional folk and fairy tales, to the study of folk process itself, and then to the particular study of how we have created modern reinterpretations of those gender roles here in the United States. We will read a wide variety of folk and fairy tales, folklore scholarship, criticism of the fairy tale, and modern adaptations of the fairy tale. We will explore such questions as, "Did women have it so bad in traditional fairy tales?" "Do modern adaptations give girls positive role models?" and "What kind of role models do fairy tales offer boys?" The class will use cultural studies to focus on how fairy tales and their modern retellings and media have an impact on the actual lives of men, women, and children.
Course Aims and Objectives: Students will gain a basic understanding of the techniques and terminology of folklore studies, as well as an introduction to the basic tools, terminology, and concepts of cultural studies (including anthropology and sociology). We will also learn about gender and gender studies and apply their conceptual tools to folk and fairy tale analysis. Students will learn to apply critical thinking techniques to fairy tales of many different origins. We will study the impact of cultural media and systems of inequality in such media; folklore as a tool people use to express, shape, and comment on their lives; and the importance of story and storytelling in culture.
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Class Structure
Required Readings: Books will be available at the bookstore and on reserve at the library. I also recommend trying the Advanced Book Exchange, at http://www.abebooks.com, a consortium of independent used booksellers which I have found very useful in the past for finding multiple copies of used books (in varying conditions and prices).
Additional required articles--marked in the syllabus with the word reserve in bold print--will also be available to students via the library. These articles are essential to the course. A link to the library reserves is available via our course website at
PLEASE NOTE (re reserve): The library does NOT make book chapters available online, but these are available via physical reserve. For the convenience of students, I make all reserve articles available for a limited time on our course website, as I happen to have them in electronic format for my own use. Although book chapters are allowed as fair use, Harvard University prefers that they not be made available through online distribution, and thus they will be available only for a limited time. Weekly readings will be available a week or two in advance, and will be taken down after the lecture day on which they are due. I recommend copying the PDF files to your own hard drive or USB drive if you wish to keep copies of book chapters for your own perusal. Please note that this service is provided as a courtesy only. All reserve materials are also available via library reserve.
Required Readings: Donoghue, Emma. 1999. Kissing the Witch: Old Tales in New Skins. HarperTeen. ISBN: 0064407721. Marked on the syllabus as Witch. Hopkinson, Nalo. 2013. Sister Mine. New York: Grand Central Publishing. ISBN: 9781455517732. Marked on the syllabus as Sister. Pratchett, Terry. 2002. Witches Abroad. HarperTorch. ISBN: 0061020613 Marked on the syllabus as Witches Abroad. Willingham, Bill. 2002. Fables, Vol 1. New York: D.C. Comics. ISBN: 1563899426. Marked on the syllabus as Fables. Yang, Gene Luen. 2008. American Born Chinese. Square Fish. ISBN: 0312384483. Marked on the syllabus as ABC. Please note that all of these are also on reserve in the library. Purchasing these is optional. Reserve texts available through the library. Marked in the syllabus as reserve.
Recommended Readings: Some of these we will be using portions of in the class; others are simply recommended as excellent examples of the refigured fairy tale.
Portions in Class Atwood, Margaret. 1998. Bluebeard's Egg. Anchor. ISBN: 0385491042 Bobby, Susan Redington, 2009. Fairy Tales Reimagined: Essays on New Retellings. London: McFarland & Co. ISBN: 978-0-7864-4115-0 Hopkinson, Nalo. 2001. Skin Folk. New York: Warner Books.
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Sexton, Anne. 2001 [1971]. Transformations. Mariner Books. ISBN: 061808343X. Windling, Terri. 1995. The Armless Maiden, and Other Tales for Childhood's Survivors. New York: Tor Books. Wu Ch'eng-en (tr. Arthur Waley). 1970. Monkey: Folk Novel of China. New York: Grove Press. Yeats, William Butler, ed. 1972. Irish Folk Stories and Fairy Tales. New York: Grosset and Dunlap. Zipes, Jack. 1987. Don't Bet On the Prince: Contemporary Feminist Fairy Tales in North America and England. New York: Routledge.
Further Reading Bernheimer, Kate. 2010. My Mother She Killed Me, My Father He Ate Me: Forty New Fairy Tales. Penguin. ISBN: 014311784X Windling, Terri, and Ellen Datlow. 2009. The Coyote Road: Trickster Tales. Firebird. Note: Look for the many other fairy tale collections by Ellen Datlow and Terri Windling such as Black Swan, White Raven. Yolen, Jane. 2002. Briar Rose. Tor Teen. ISBN: 0765342308
Course Requirements: This course will require weekly short writing assignments, and either two essays or a final research paper.
Discussion Participation/Attendance: 20% Weekly Writing: 30% Research Paper OR Two Essays: 50%
General Requirements: Class attendance and participation are both essential to this class. For this reason, unexcused absences will impact your grade; the discussion we do in class cannot be replicated by simply doing the reading. Although this is not a writing intensive course, the papers are another vehicle for you to reflect on the reading topics and to introduce your own ideas; creativity, critical thinking, and good analysis are all highly encouraged.
The use of cell phones, pagers, or other communication devices will not be permitted in class, unless you are an EMT or other medical professional on call. Laptops will also not be permitted without my prior consent.
Graduate Students: Gradate students attending this course will complete all of the same assignments that are required of undergraduates, but will be held to more stringent standards and will receive separate assignment sheets. We will also schedule a couple of graduate-only discussion sections during the semester, our schedules permitting. In particular, the final research paper (graduate students will be required to do a final research paper) will be held to a graduate-level standard of research, theory, and writing.
Email Policy: Emails will be answered within 24 hours, except for weekend days (when I cannot guarantee to check my email as regularly). I do not check email between the hours of 9 pm and 8 am. Please keep emails short and to the point; longer commentary may be better discussed
3 Harvard Summer Session 2015 SWGS S-1421, Syllabus Draft 6/24/2105 during office hours. Written work should be turned in via the Dropbox on our iSite, as this is more secure than email; email should be used as a last resort.
Written Work/Assignments: All written work will be graded on presentation (grammar, writing skills, proper citation, etc.), arguments (flow, use of texts, coherent and clear thesis), and grasp of the ideas presented in class as well as on your own original theory and take on the material. Assignment sheets will be available on our website and due dates are specified in the syllabus. Written work submitted later than fifteen minutes after the due date will be lowered by a third of a grade for each day late, except in cases of illness or emergency. Written work should be submitted via dropbox on our website. Discussion Questions/Weekly Writing Assignment: Students are requested to come to class once each week with a set of 2-4 discussion questions (written down) in hand to use during discussion. You will also answer one of these discussion questions with a short essay (2-4 paragraphs, 1 page) answer. These sheets (typed, standard font) will be turned into the dropbox on our website before class. A more full assignment sheet will be provided on our class website. Final paper/Two Essays: In this class, you may choose to do two short, traditional essays (4-5 pages, one halfway through the semester and the other as a final paper, written to provided essay prompts), or else a final research paper (graduate students must choose the research paper option; students who have not yet completed a year of undergraduate work must choose the 2-essay option). The research paper consists of 8-10 pages relating some of the topics we have covered in class to outside research and I will require a proposal and bibliography to be turned in beforehand for commentary. You may choose to research a topic we have covered in class more in-depth (such as mermaid/seal bride stories) or to analyze material we have not covered (such as recent film or television with fairy tale themes). More complete assignment sheets for both options will be made available to you on our class website.
Citation Format: All sources MUST be cited. Please use in-text citation. For example:
American teenage girls seem to be in a liminal state, for "as a society, we discarded the Victorian moral umbrella over girls before we agreed on useful strategies and programs--a kind of 'social Gore-Tex' to help them stay dry" (Brumberg 1997: 201).
Works Cited:
Brumberg, Joan. 1997. The Body Project: An Intimate History of American Girls. New York: Random House.
NOTE. Proper anthropological citation utilizes the LAST NAME of the author, the YEAR of the publication date, and the PAGE number, in that order. I will also accept MLA citation or Chicago in-text citation.
Be sure to include the works cited page. All papers must be word-processed and spellchecked, double-spaced, with reasonable margins. Please include page numbers and use a font no smaller
4 Harvard Summer Session 2015 SWGS S-1421, Syllabus Draft 6/24/2105 than ten point and no larger than twelve. I highly encourage you to proofread as grammar and punctuation are essential parts of writing well.
Class Participation and Courtesy: --I require and expect all students to treat each other with courtesy. Courtesy includes being prepared, being on time, and being respectful of the material and your colleagues' work with it. --Harassment, whether physical, sexual, or verbal, will not be tolerated in this class. We may be discussing some sensitive and sometimes upsetting topics; I expect this classroom to be a safe space for students to express their views. --It is possible to disagree respectfully: rather than telling people that they are wrong, do what is called "reflecting" before responding. For example, "You seem to be saying that X is Y," (reflection) "however, I have a different opinion, which is that X is Z, because of A." Also, be sure not to disagree with people (i.e. "you are wrong,") but with their actual statements ("I do not agree with X equalling Y"). --Speak up in class. I don't expect every student to volunteer an opinion in every class, but your opinions count -- be sure to share them in most classes. As an adjunct to this, share the floor! Let others speak (and if you are afraid that you will forget your point, write it down). --Respect confidentiality. If you want to adduce examples which do not come from the texts, don't give names: we will be discussing sensitive subjects (this goes as well for your papers, if you are giving personal experiences or doing fieldwork). A friend gave me this excellent advice for talking about issues, and not individuals: "plots, not characters." --Use "I statements" for your opinions rather than assuming that what you think should be universal. This can also be helpful for distinguishing between personal opinion and facts which can be backed up by documented scholarly evidence. --Expressions of bias are hurtful even if unintended. However, even if you did not mean to step on my foot, it's best if you move when I tell you that it hurts. Similarly, when someone says something that another person finds biased and hurtful, it's best to cease and apologize, even if that's not what the first person intended. Intent is not magic and will not prevent bias from happening; we all carry around unconscious misogyny, transphobia, homophobia, racism, and a host of other prejudices because of how society is. I encourage all students to try to be graceful about listening when their bias is brought up (and I promise to do my best, myself). If you have any problems or questions, I encourage you to bring them to me, or to the Office of the Dean of Students.
Regrade Requests: In the event of a grade dispute, I will re-evaluate the entire work according to my grading rubric. A higher grade is not guaranteed.
Academic Integrity: Academic integrity is expected of all students. All work turned in must be the work of the student whose name appears at the top of the paper, except where you have specifically requested and received permission for a collaborative effort (such as for presentations). All students are expected to cite their sources fully (whether from texts, interviews, or online). Ignorance is not an excuse: misrepresentation of another person's work as your own is plagiarism under any and all circumstances. If you have any questions on when or whether to cite, please do not hesitate to ask. You may not turn in work for this class which you have previously turned in for other classes. Plagiarism will be dealt with according to the
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Academic Honesty Policy; plagiarized work will result in a failure of the class and further sanctions, at the discretion of the Harvard Summer School Administrative Board, may result.
If you are a student with a documented disability and wish to have accommodation made for you in this class, please contact the Disabilities Office: [email protected].
Class Schedule
Week 1: Gender in "Traditional" Folk and Fairy Tales June 22 First Class Meeting: Introduction to Folklore Studies, Gender Studies Overview of syllabus and assignments Reading: None
June 24 Warnings: Historical violence against a woman - very detailed: Bourke Reading: Yeats, William Butler, ed. 1972. Irish Folk Stories and Fairy Tales. New York: Grosset and Dunlap. reserve. Please read the following: "Teig O'Kane (Tadhg O Cathn) and the Corpse" "The Brewery of Eggshells" "The Giant's Stairs" Bourke, Angela. 1995. "Reading a Woman's Death: Colonial Text and Oral Tradition in Nineteenth-Century Ireland." Feminist Studies 21(3): 553-586. reserve. Ashliman, D. L., ed. 2008. "The Mermaid Wife," on his site folktexts (2010).
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Lorber, Judith. 2001. "'Night to His Day': The Social Construction of Gender," in Feminist Frontiers, 5th Ed. Laurel Richardson, Verta Taylor, and Nancy Whittier, eds. Boston: McGraw-Hill. reserve. Hooker, Jessica. 1990. "The Hen Who Sang: Swordbearing Women in Eastern European Fairytales." Folklore 101(2): 178-184. reserve. Simpson, Jacqueline. 1991. "'Be Bold, But Not Too Bold': Female Courage in Some British and Scandinavian Legends." Folklore 102(1):16-30. reserve. Recommended: Lang, Andrew. 2012 (1901). "The Girl Who Pretended to Be a Boy" [Fet-Fruners] and "The Lute Player" in his The Violet Fairy Book. Gutenberg Project. < http://www.gutenberg.org/ebooks/641 > (see links in Table of Contents)
June 29 Warnings: Rape, violence, threatened incest, cannibalism (none detailed): Grimm; incest: "Catskin;" cannibalism: Prince; rape, violence, threatened incest, cannibalism (none detailed): Tatar Reading: Grimm, Jacob and Wilhem (trans Margaret Hunt). 2004 (1884). Household Tales by The Brothers Grimm, translated by Margaret Hunt. Gutenberg Project.
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McCray, Evelyn, and Craig Dominey. n.d. (2014). "The Barefoot Woman" on The Moonlit Road (1997, story website). < http://themoonlitroad.com/the-barefoot-woman/ > (you may listen to this is you like!) reserve/online Tatar, Maria. 1987. "Born Yesterday: The Spear Side," in her The Hard Facts of the Grimms' Fairy Tales. Princeton: Princeton University Press. reserve. Tatar, Maria. 1987. "Sex and Violence: The Hard Core of Fairy Tales," in her The Hard Facts of the Grimms' Fairy Tales. Princeton: Princeton University Press. reserve. Recommended for French Readers: Madame LePrince de Beaumont. 2004 [1865]. Le Cabinet des feés. Gutenberg Project.
Week 2: Folk Process July 1 Warnings: Cannibalism, violence: Shlepp; the holocaust: Landwehr; rape: Pretty Woman. Reading: Reider, Noriko T. 2003. "Transformation of the Oni: From the Frightening and Diabolical to the Cute and Sexy." Asian Folklore Studies 62(1):133-157. reserve. Silko, Leslie Marmon. 1993. Yellow Woman. New Brunswick, N,J.: Rutgers University Press. reserve Please read: "Introduction" "Yellow Woman" "Interview with Leslie Silko." Shlepp, Wayne. 2002. "Cinderella in Tibet." Asian Folklore Studies 61(1): 123-47. reserve. Wardetzky, Kristin. 1990. "The Structure and Interpretation of Fairy Tales Composed by Children." The Journal of American Folklore 103(408): 157-76. reserve. Zipes, Jack. 2011. "The Triumph of the Underdog: Cinderella's Legacy," in his The Enchanted Screen: The Unknown History of Fairy-Tale Films. New York: Routledge. reserve. Recommended: Landwehr, Margarete J. 2009. "The Fairy Tale as Allegory for the Holocaust: Representing the Unrepresentable in Yolen's Briar Rose and Murphy's Hansel and Gretel," in Fairy Tales Reimagined: Essays on New Retellings, Susan Redington Bobby, ed. London: McFarland & Co. reserve. (in-class film: Marshall, Gary. 1990. Pretty Woman, Feature film, Touchstone Pictures [selections].)
Week 3: Criticism and Analysis of the Fairy Tale in Western Cultures July 6 Warnings: Child abuse & incest (personal essay, detailed): Windling; child sacrifice in Western culture: Zipes Reading: Pratchett, Terry. 2002. Witches Abroad. HarperTorch.
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Atwood, Margaret. 1998. "Bluebeard's Egg," in her Bluebeard's Egg. Anchor. reserve. Leiberman, Marcia K. 1987. "Some Day My Prince Will Come: Female Acculturation Through the Fairy Tale," in Don't Bet On the Prince: Contemporary Feminist Fairy Tales in North America and England. Jack Zipes, Ed. New York: Routledge. reserve. Byatt, A.S. 1994. "The Story of the Eldest Princess," in The Outspoken Princess and the Gentle Knight. Jack Zipes, ed. New York: Bantam Books. reserve. Windling, Terri. 1995. "Surviving Childhood," in The Armless Maiden, and Other Tales for Childhood's Survivors, Windling, Terri, ed. New York: Tor Books. reserve. Recommended (especially if you have not viewed this version before): Geronimi, Clyde. 1959. Sleeping Beauty (feature film). Disney. reserve. Recommended: Rowe, Karen E. 1987 (1978) "Feminism and Fairy Tales," in Don't Bet On the Prince: Contemporary Feminist Fairy Tales in North America and England. Jack Zipes, Ed. New York: Routledge. reserve. Recommended: Zipes, Jack. 2006. "To Be or Not to Be Eaten: The Survival of Traditional Storytelling," in his Why Fairy Tales Stick: The Evolution and Relevance of a Genre. New York: Routledge. reserve. (in-class film: Stromberg, Robert. 2014. Maleficent (feature film). Disney.)
July 8 Warnings: Rape themes: Zipes; rape, murder, graphic domestic abuse: Lee; child molestation: Keizs Reading: Hopkinson, Nalo. 2013. Sister Mine. New York: Grand Central Publishing. Sister. Zipes, Jack. 1987. "A Second Look at Little Red Riding Hood's Trials and Tribulations," in Don't Bet On the Prince: Contemporary Feminist Fairy Tales in North America and England. Jack Zipes, Ed. New York: Routledge. reserve. Lee, Tanith. 1983. "Wolfland," in her Red as Blood, Or, Tales from the Sisters Grimmer. New York, Daw Books. reserve. Keizs, Sonia. 1995. "Wolves," in The Armless Maiden, and Other Tales for Childhood's Survivors, Windling, Terri, ed. New York: Tor Books. reserve. Storr, Catherine. 1994. "Little Polly Riding Hood," in The Outspoken Princess and the Gentle Knight. Jack Zipes, ed. New York: Bantam Books. reserve. (in-class film: selections from depictions of "Little Red Riding Hood," various) First Essay or Proposal for Final Research Paper Due
Week 4: Women and Femininity in Modern Fairy Tales and Folklore July 13 Warnings: References to domestic abuse: Broumas, Blancanieves; abuse, holocaust references, child molestation/incest: Sexton Reading Broumas, Olga. 1986. "Cinderella," in An Introduction to Poetry, 6th Ed. X.J. Kennedy, ed. Boston: Little Brown, and Co. reserve. < http://www.arlindo-correia.com/ 260700.html#Cinderella_ > Sexton, Anne. 1971. Transformations. Boston: Houghton Mifflin Co. Please read the following: "Foreword" (by Kurt Vonnegut, Jr.)
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"Snow White and the Seven Dwarfs" "Godfather Death" (recommended only) "Rapunzel" "Red Riding Hood" "The Maiden Without Hands" "Briar Rose (Sleeping Beauty)" reserve. Joyce, Christa Mastrangelo. 2009. "Contemporary Women Poets and the Fairy Tale," in Fairy Tales Reimagined: Essays on New Retellings, Susan Redington Bobby, ed. London: McFarland & Co. reserve. Yolen, Jane. 1994. "The White Seal Maid," in The Outspoken Princess and the Gentle Knight. Jack Zipes, ed. New York: Bantam Books. reserve. Jane Gardam. 1995. "The Pangs of Love," in Windling, Terri, ed. 1995. The Armless Maiden, and Other Tales for Childhood's Survivors. New York: Tor Books. reserve. Lord Dunsany. (no posting date) [1908]. "The Kith of the Elf-Folk," in his The Sword of Welleran and Other Stories, reproduced in Sacred Texts Online. < http://www.sacred- texts.com/neu/dun/swos/swos04.htm > reserve/online. Recommended (if you have not read it before, STRONGLY recommended): Andersen, H.C. 2008 (1837/in English translation 1872). "The Little Mermaid," in Fairy Tales of Hans Christian Andersen. Gutenberg Project.
July 15 Warnings: Murder, domestic abuse: Lee; emotional abuse, murder: Hopkinson; domestic abuse: Snyder; incest, child abuse: Yolen; threatened incest, emotional abuse, suicide: Donoghue. Reading: Lee, Tanith. 1983. "Red as Blood" in her Red as Blood, Or, Tales from the Sisters Grimmer. New York, Daw Books. reserve. Hopkinson, Nalo. 2001. "Tan-Tan and Dry Bone," and "Greedy Choke Puppy," in her Skin Folk. New York: Warner Books. reserve. Snyder, Midori. 1995. "The Armless Maiden" and "The Hero's Journey," in The Armless Maiden, and Other Tales for Childhood's Survivors, Windling, Terri, ed. New York: Tor Books. reserve. Yolen, Jane. 1995. "Allerleiruah," in The Armless Maiden, and Other Tales for Childhood's Survivors, Windling, Terri, ed. New York: Tor Books. reserve. Donoghue, Emma. 1999. Kissing the Witch: Old Tales in New Skins. HarperTeen. Witch.
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de la Rochere, Martine Hennard Dutheil. 2009. "Queering the Fairy Tale Canon: Emma Donoghue's Kissing the Witch," in Fairy Tales Reimagined: Essays on New Retellings, Susan Redington Bobby, ed. London: McFarland & Co. reserve.
Week 5: Men and Masculinity in Fairy Tales and Folklore July 20 Warnings: Deliberate use of offensive asian stereotypes: Yang; non-ironic use of offensive Asian stereotypes: "Monkey/Monkey Magic" (British dub). Reading: Yang, Gene Luen. 2008. American Born Chinese. Square Fish. ABC. Ch'eng-en, Wu (trans. Arthur Waley). 1970. Monkey. New York: Grove Press. reserve. Please read chapters 1-2, 3-4 (recommended), chapters 5-7, 13-15, 16-18 (recommended: this is where they pick up Pigsy and Sandy for the journey), Chapters 25-27 (you can start here with pg. 250). reserve. Louie, Kam, and Louise Edwards. 1994. "Chinese Masculinity: Theorising Wen and Wu." East Asian Studies 8: 135-48. reserve. (in class film: selections from "Journey to the West," 1982-1999, Yang Jie (Chinese Television); "Monkey/Monkey Magic," 1978-79, Nippon Television; "Saiyuki," Studio Perrot, 1997-2002, depending on availability)
July 22 Warnings: Violence: Veryzer; violence, domestic violence, rape (discussed): Zipes; horror themes, violence (described): Fulmer; violence (implied and depicted): Willingham Reading: Veryzer, Guy Summertree. 1995. "Dolls," in The Armless Maiden, and Other Tales for Childhood's Survivors, Windling, Terri, ed. New York: Tor Books. reserve. Zipes, Jack. 2006. "The Male Key to Bluebeard's Secret," in his Why Fairy Tales Stick: The Evolution and Relevance of a Genre. New York: Routledge. reserve. Hill, Mark C. 2009. "Negotiating Wartime Masculinity in Bill Willingham's Fables," in Fairy Tales Reimagined: Essays on New Retellings, Susan Redington Bobby, ed. London: McFarland & Co. reserve. Fulmer, Jacqueline. 2002. "'Men Ain't All': A Reworking of Masculinity in Tales from the Hood, or, Grandma Meets the Zombie." The Journal of American Folklore 115 (457/458): 422-442. reserve. Willingham, Bill. 2002. Fables. New York: D.C. Comics. Fables. Recommended: Glasgow, Bruce. 1997. "True Thomas," in Black Swan, White Raven, Ellen Datlow and Terri Windling, eds. New York, Avon Books. reserve.
Week 6: The Public Face of Fairy Tales: Disney (Mostly) July 27 Warnings: Spoilers for all Disney films: pretty much all of these articles. Reading: England, Dawn, Lara Descartes, and Melissa Collier-Meek. 2011. "Gender Role Portrayal and the Disney Princesses." Sex Roles 64(7/8): 555-567. reserve. Do Rozario, Rebecca-Anne. 2004. "The Princess and the Magic Kingdom: Beyond Nostalgia, the Function of the Disney Princess." Women's Studies in Communication 27 (1): 34-59. reserve.
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Wohlwend, E. 2009. "Damsels in Discourse: Girls Consuming and Producing Identity Texts Through Disney Princess Play." Reading Research Quarterly 44(1): 57-83. reserve. Bazzini, Doris, Lisa Curtin, Serena Joslin, Shilpa Regan, and Denise Martz. 2010. "Do Animated Disney Characters Portray and Promote the Beauty-Goodness Stereotype?" Journal of Applied Social Psychology 40(10): 2687-2709. reserve. Lester, Neal A. 2007. "Unhappily Ever After: Fairy Tale Morals, Modalities, and Heterosexism in Children's Texts." Journal of Gay & Lesbian Issues in Education 4(2): 55-74. reserve. Colman, Dani. 2/7/ 2014. "The Problem With False Feminism." Medium.com/ Disney and DreamWorks. (Online Essay Collection.) < https://medium.com/disney-and- animation/7c0bbc7252ef > Recommended: Harriger, Jennifer A., Rachel M. Calogero, David C. Witherington, and Jane Ellen Smith. 2010. "Body Size Stereotyping and the Internalization of the Thin Ideal in Preschool Girls." Sex Roles 63: 609-620. reserve. Annotated Bibliography for Research Paper Due (if you are choosing to do this)
July 29 Reading: McIntosh, Peggy. 2001. "White Privilege and Male Privilege: A Personal Account of Coming to See Correspondences Through Work in Women's Studies," in Feminist Frontiers, 5th Ed. Laurel Richardson, Verta Taylor, and Nancy Whittier, eds. Boston: McGraw- Hill. reserve. Gregory, Sarita. 2010. "Disney's Second Line: New Orleans, Racial Masquerade, and the Reproduction of Whiteness in The Princess and the Frog." Journal of African American Studies 14(4): 432-449. reserve. Hurley, Dorothy L. 2005. "Seeing White: Children of Color and the Disney Fairy Tale Princess." Journal of Negro Education 74(3): 221-232. reserve (in-class film: The Princess and the Frog, 2009, Feature film, Disney)
Final Week: Papers, Class-Led Discussions August 3 Class meeting/party with fairy tale film of class choosing Reading: None!
August 5: Final papers/Research Papers due
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