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d’Aulnoy, and proceeding to the Grimms’ proWRQDWLRQDODQGSKLORORJLFDOSURMHFW,WKHQGLVFXVV (QJOLVKDXWKRUVVXFKDV-RKQ5XVNLQ.&KHVWHUWRQDQG-557RONLHQZKRGHIHQGHGIDLU tales and fantasy more broadly. Andrew Lang’s “Coloured Fairy Books,” which assume a child RQOUHDGHUVKLSDUHDFHQWUDOIRFXVODUJHOEHFDXVHLVVXHVRIJHQGHUVH[XDOLWUDFHDQGDQ LPSHULDOLVWLGHRORJDUHHPEHGGHGLQKLVSURMHFW7KLVVHFWLRQDOVRDQDO]HVKRZFRQFHSWVRI childhood, including the “Romantic child,” the “noblesavage child,” and the “innocent child,” DUHLPSOLFDWHGLQWKLVKLVWRU 3DUW,,SURSRVHVWKUHHDHVWKHWLFPRGHV––WKHFXWHWKHVDWLULFDODQGWKHXWRSLDQ––DVDZD WRDSSURDFKQLQHWHHQWKFHQWXU9LFWRULDQIDLUWDOHLOOXVWUDWLRQVVDGLPLQXWLYHRIVRUWVWRWKH PDMRUDHVWKHWLFFDWHJRURIWKHEHDXWLIXOWKHFXWHLVDVVRFLDWHGZLWKLQIDQWLOHFKDUDFWHULVWLFVLH PDPPDOLDQLQIDQWVRURWKHUFUHDWXUHVZLWKVPDOOERGLHVDQGODUJHKHDGVDQGHIIHPLQL]HGRU miniature commodities. Cuteness is exemplified by Kate Greenaway’s children inhabitLQJ IDQWDVJDUGHQVEXWFRXOGDOVREHIRXQGLQWKHUHSUHVHQWDWLRQRIFKLOGPHQLQWKHVDWLULFDOSUHVV 9LVXDOVDWLUHLVFRPPRQODVVRFLDWHGZLWKFDULFDWXUHZKLFKGHSORVWKHDUWRIH[DJJHUDWLQJ ERGLOIHDWXUHVDVSROLWLFDOFULWLTXHEXWVDWLUHLQWHUVHFWVZLWKIDLUWDOHLOOXVWUDWLRQLQQXPHURXV ZDVQRWOHDVWEHFDXVHDUWLVWVVXFKDV5LFKDUG'ROHDQG-RKQ7HQQLHOFRXOGEHIRXQGERWKLQ 3XQFKDQGLQIDLUWDOHQRYHOODV)LQDOOWKHXWRSLDQLVFRQFHUQHGZLWKIDLUODQGDVDVLWHRI EHDXWOLEHUWMXVWLFHDQGIXOILOOHGGHVLUH–DQGLVHSLWRPL]HGEWKHZRUNRI:DOWHU&UDQH ZKRVHVRFLDOLVWYDOXHVHPHUJHLQSROLWLFDOSRVWHUVDVZHOODVIDLUWDOHLOOXVWUDWLRQ7KURXJKRXW WKHVHWKUHHFDWHJRULHV,GHYHORSWKHFRQFHSWRILQWHUSLFWRULDOLW–DVDZDWRWUDFNPRWLIVDQG VWOHVDFURVVPXOWLSOHJHQUHVDQGIRUPVRIYLVXDOFXOWXUH Part III narrows in on Cinderella’s visual transformation, from the early versions by Perrault, d’Aulnoy, and the Grimms to English chapbooks and toy books, to fairy tale DQWKRORJLHVDQGHYHQWXDOOWR'LVQH7KLVGLVFXVVLRQLVLQIRUPHGEWKHGHEDWHEHWZHHQ VHFRQGZDYHIHPLQLVWVOLVRQ/XULHDQG0DUFLD/LHEHUPDQRYHUWKHYDOXHRIIDLUWDOHVIRUD FKLOGUHDGHU7RPRYHSDVWWKHHVRUQRTXHVWLRQRIZKHWKHUVWRULHVRISDVVLYHDQGEHDXWLIXO KHURLQHVVXSSRUWWKHLQGRFWULQDWLRQRIRXQJJLUOV,H[DPLQHPXOWLSOHH[DPSOHVRIWH[WDQG LPDJHLQWHUDFWLRQDQGVKLIWVLQQDUUDWLYHIRFXVWRVKRZKRZLPDJHVRIIHPDOHOLEHUDWLRQDQG suffering have been integral to the story’s appeal. To counter tKHLPSDFWRIWKH'LVQHYHUVLRQ, HPSKDVL]HWKHSLFWRULDOGLYHUVLWHPEHGGHGZLWKLQWKHIDLUWDOHERRNDQGSRLQWWRWKHDJHQFRI FKLOGDQGDGXOWUHDGHUYLHZHUV FNQRZOHGJPHQWV 7KLVWKHVLVwould not have been possible without my Grandmother’s wishes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pecial Collections at McGill University, The Osborne Collection of Early Children’s Literature DW7RURQWR3XEOLF/LEUDU7KH-RKQ5ODQGV/LEUDUDW0DQFKHVWHU8QLYHUVLWDQGWKH%RGOHLDQ /LEUDUDW2[IRUG8QLYHUVLWSDUWLFXODUWKDQNRXJRHVRXWWRVHPLQDOOLEUDULDQVIURPD YDULHWRIOLEUDULHV—-DQLFHQGHUVRQ-HQQLIHUDUODQG.DWH0DUOH/RULH0F&OHRG0HOLQGD 5HLQKDUWDQG6WHSKHQ:LOGPDQ 'HGLFDWHGWR6WHOOD 7DEOHRIRQWHQWV /LVWRIFigures…...………………………………………………………………………………x ,QWURGXFWLRQ……………………………………………………………………………………….. Fantasy and the Fairy tale…………………………………...…...……………………….. &KLOGKRRG&RQFHSWVDQGthe Child’s Book…………………………….……………………8 3. Fairy Tale ScholarshipŚ Jack Zipes…………………………………….….…………….....15 3.1. Gender and Fairy Tale Scholarship………………………………….………………1 Postcolonial Feminism…………………………………………………………....2 /DFNRIWWHQWLRQLYHn to the Pictorial...……………………………….………………2 7RZDUGVD3Lcture Book Methodology…………………………………….…………….2 GGLWLRQDO&RQFHSWXDO&RQVLGHUDWLRQV)DQWDVYHUVXV(PSDWK…………………..3 2XWOLQHRIChapters………………………………………………………….…………... ………………………………………6HFWLRQ2QH2HULHZ..….………..……….…..……… &KDSWHU7KH)DLU7DOHIRUGXOWVDQGWKH/LPLWVRf Andrew Lang’s FantasyScape…...….. 3KDVH2QH6WRUWHOOLQJDQGWKH'HYHORSPHQWRIWKH)DLU7DOH&DQRQ…...….……48 3KDVH7ZR6WRULHVIRU&KLOGUHQDQGthe Myth of the Noble Savage……...……….5 QGUHZ/DQg……………………………………………………………...………...60 1.3.1. Lang in his Victorian Era Ethnocultural Milieu………………………...6 5HVSRQVHVWR/DQJDQG)DLUland’s Revival………………………………...………71 1.4.1. G.K. Chesterton………………………………………………………… -557Rlkien………………………………..…………………………....78 1.5. Phase ThreeŚ Subversion and CivilizationŚ A New Set of Conditions………………8 Chapter Conclusion………………………………………………………………………90 &KDSWHUURZLQJRXWRIDQGLQWR)DLUODQG9LFWRULan Pictorial Diversity…………………...92 2.1. John Ruskin’s Fairyland and Beloved Childhood………………………………......96 7KH.LQJRIWKHROGHQ5LYHU9Lctorian Fairy Tale Novel…………...103 2Q6H[DQGHQGHrŚ Beyond the Reaches of Ruskin’s Childhood Fairyland……...1 RZ'DUNLVWKH5DEELWROHDQGWKH&XULRVLWies That Alice Found There………115 2Q7DNLQJWKH3LFWRULDO6HULRXVOLQPublishing History…..……………………… 6FHQHVRI%HDXW6DYLQJWKHBeast…………………………..…………..126 RZWKH3LFWRULDO0DWWHUVWRRace Relations……………………...……………….128 2.6. Racialization in Andrew Lang’s “Coloured Fairy Books”……………...…………134 2.7. The Pictorialization of Aladdin’s Racial IdentitiesŚ Crane versus Ford………...…138 &KDSWHU&RQFOXVLRQ...…………………………………………………………………..141 ………………………………………6HFWLRQ7ZRHVWKHWLF0RGHV……...…..…………….142 &KDSWHU7KH&XWH…………………………………………………………………………….147 :KDWLV&XWHQHVV7KHRUHWLFDOOy Speaking?……………………………………......148 3UH1LQHWHHQWK&HQWXU)RXQGDWLRQV………………………………………………156 7URXEOHVRPH)DLUBodies……………………………………...………………….159 9LFWRULDQ&DVWRI)DLry Figures………………………………………………….164 7KH&XWe and the Toy Book……………………………………………………... UHWKH7DPHVWRI)DLUODQGV5HDlly That Safe? ..…………………..……….……175 &KDSWHU7KH6DWLULFDO………………………………………………...……………………...177 4.1. Locating Satire’s Visual Kin……………………………………….………………180 4.2. George Cruikshank’s Cartoons andthe Fairy Tales………...……………………..183 9LFWRULDQ3XQFK7KH3URIHVVLRQDOL]DWLRQof Graphic Satirists……………........…189 )DLU7DOH&URVVRYHUVLQWKH9LFWRULDQ3XQFK………………………………...…...191 )DOOLQJIURPWKH,GHDOVRIGXOWKRRd into the Punchbowl……………………...…194 7KH3XQFK9HUVLRQRIWKHFairy Tale………………………………………...…….200 4.7. On How to Grow up Amongst Childish Adults……………………………………206 7KH5RVHDQGWKH5LQJ………………………………………………...…206 7KHOLFH6WRULHV….…………………………………………………...…209 Chapter 5Ś The Utopian………………………………………………………………………… ,QWHUVHFWLRQVEHWZHHQ)DLU7DOHVDQG8WRSLDQ1DUUDWLYHV…………………...…... 5.2. Visual Dimensions of Utopia………………………………………………………2 7KH)DLU7DOH8topianism or Fantasy……………………………………………2 ZDNHQLQJVLQ1HZV)URP1RZKHUH…………………………………………...…224 &UDQHDQG0RUULV6RFLDOLVW)ULHQds and Craftsmen……………………………….227 .HOPVFRWW3XEOLVKLQJDQGWKH(DUO3XEOLVKLQJRI1HZVIURP1RZKHUH…………..2 5.7. Walter Crane’s UtopianAllegory………………………………………………….232 7KH8WRSLDQWKDWOLPPHUVLQ:DOWHU&Uane’s Fairy Tale Books…………………236 9LVXDOL]LQJ)DLU7DOHVLQ1HZVIURP1RZKHUH…………………………………...241 &RQFOXVLRQWR6HFWLRQ7ZR7KH&XWH6DWLULFDODQG8WRpian Chapters...…….………...……..242 ………………………………………6HFWLRQ7KUHHLQGHUHOOD……………………………..2 &KDSWHU&LQGHUHOODDQGKHU0DQ/Rst Slippers……………………………………………..246 &LQGHUHOOD7UDYHOVWKURXJK)DLU7DOH6FKRODUVKLS………………………..………249 6.1.1. Cinderella’s Feminist Journey…………………………………………...251 7H[WDQG,PDJH7KH6WRU(QYLURQPHQWVIRU7ZR&LQGHUHOODV……………….…..255 6.2.1. Perrault’s “Cendrillon”………………...……………………………......256 6.2.2. D’Aulnoy’s “Finette Cendron”.…………………………………….……259 (QJOLVK3XEOLVKLQJLVWRU)URP&KDSERRNWR7R%RRN…………………….….261 7KH'LFNHQV&UXLNVKDQNExchange……………………………………….………266 9LHZLQJ%HDXWLIXO&LQGHUHOODDQGWKH8JO6WHSVLVWHUVLQ&RORXU…………...…...268 . Cinderella’s Suffering and the Suffragette’s Cinderella………………….….……270 6.7. “Aschenputtel” versus &LQGHUHOOD………………………………………….………275