Pub Date : 2021-06-15DOI: 10.13110/MARVELSTALES.35.1.0036
A. Meyertholen
Abstract:The strangeness of "Rumpelstiltskin" continues to fascinate audiences and perplex folklorists long after reaching the Grimms from women storytellers in the spinning chamber. Despite its discovery in the tale, Rumpelstiltskin's identity remains mysterious from beginning to end. While previous scholarship decodes the figure as an avatar for male oppression or opportunity for female resistance, this article argues that Rumpelstiltskin is not interchangeable with or symbolic of patriarchal institutions but rather an ambiguous body victimized by them. "Rumpelstiltskin" read queerly with an expanded spectrum of gender and sexuality challenges the heteronormative assumptions embedded in the text and gives voice to queer subjectivities.
{"title":"Rumpelstiltskin's (Queer) Secret: Nonbinary Bodies Buried between the Lines of the Brothers Grimm","authors":"A. Meyertholen","doi":"10.13110/MARVELSTALES.35.1.0036","DOIUrl":"https://doi.org/10.13110/MARVELSTALES.35.1.0036","url":null,"abstract":"Abstract:The strangeness of \"Rumpelstiltskin\" continues to fascinate audiences and perplex folklorists long after reaching the Grimms from women storytellers in the spinning chamber. Despite its discovery in the tale, Rumpelstiltskin's identity remains mysterious from beginning to end. While previous scholarship decodes the figure as an avatar for male oppression or opportunity for female resistance, this article argues that Rumpelstiltskin is not interchangeable with or symbolic of patriarchal institutions but rather an ambiguous body victimized by them. \"Rumpelstiltskin\" read queerly with an expanded spectrum of gender and sexuality challenges the heteronormative assumptions embedded in the text and gives voice to queer subjectivities.","PeriodicalId":42276,"journal":{"name":"Marvels & Tales-Journal of Fairy-Tale Studies","volume":"34 1","pages":"36 - 61"},"PeriodicalIF":0.0,"publicationDate":"2021-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89336651","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-15DOI: 10.13110/MARVELSTALES.35.1.0109
Weronika Kostecka, X. Mínguez-López
Abstract:The aim of this article is to examine diverse adaptation strategies applied by the creators of the Japanese animated series Grimm's Fairy Tale Classics to retell the Grimm Brothers' stories. Above all, the strategy of faithful adaptation can be found in GFTC, yet significant elements of activist adaptation are exploited as well. Moreover, the goal is also to present the elements of Japanese culture exploited by the anime series discussed. The specific creation of GFTC as an adaptation resulted from the tension among three main components of this anime. The first one is the pre-text: fairy tales from the European tradition, mainly from the Grimms' collection. The influence of Japanese folklore and art on the creation of diverse fantastic creatures should be considered the second component. Finally, we can consider the anime tradition as the third component, since GFTC was produced at the moment of expansion of Japanese animation industry.
{"title":"Once Upon a Time in Japan: Adaptation Strategies in Grimm's Fairy Tale Classics Series","authors":"Weronika Kostecka, X. Mínguez-López","doi":"10.13110/MARVELSTALES.35.1.0109","DOIUrl":"https://doi.org/10.13110/MARVELSTALES.35.1.0109","url":null,"abstract":"Abstract:The aim of this article is to examine diverse adaptation strategies applied by the creators of the Japanese animated series Grimm's Fairy Tale Classics to retell the Grimm Brothers' stories. Above all, the strategy of faithful adaptation can be found in GFTC, yet significant elements of activist adaptation are exploited as well. Moreover, the goal is also to present the elements of Japanese culture exploited by the anime series discussed. The specific creation of GFTC as an adaptation resulted from the tension among three main components of this anime. The first one is the pre-text: fairy tales from the European tradition, mainly from the Grimms' collection. The influence of Japanese folklore and art on the creation of diverse fantastic creatures should be considered the second component. Finally, we can consider the anime tradition as the third component, since GFTC was produced at the moment of expansion of Japanese animation industry.","PeriodicalId":42276,"journal":{"name":"Marvels & Tales-Journal of Fairy-Tale Studies","volume":"147 1","pages":"109 - 128"},"PeriodicalIF":0.0,"publicationDate":"2021-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78628271","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-15DOI: 10.13110/MARVELSTALES.35.1.0003
Melissa A. Hofmann
Abstract:Comparing d'Aulnoy's "Le Dauphin" and Murat's "Le Turbot" relation to Straparola's "Pietro the Fool" and to each other reveals the ways in which the conteuses' rewriting of the tale allows for differing degrees of women's control over (their) sexuality. D'Aulnoy and Murat both employ the trope of metamorphosis beyond their source tale's transformation of the fool and add to the characters and plot in order to explore the issues of sexual consent, female desire and agency, and fidelity. I propose that Murat's "Le Turbot" purposely engages "Le Dauphin" and fulfills the fairy/women writer ethos of Murat's "Aux Fées Modernes."
{"title":"\"Where the Turbot Is King\": Murat's \"Le Turbot\" as Modern Fairy-centric Response to d'Aulnoy's \"Le Dauphin\"","authors":"Melissa A. Hofmann","doi":"10.13110/MARVELSTALES.35.1.0003","DOIUrl":"https://doi.org/10.13110/MARVELSTALES.35.1.0003","url":null,"abstract":"Abstract:Comparing d'Aulnoy's \"Le Dauphin\" and Murat's \"Le Turbot\" relation to Straparola's \"Pietro the Fool\" and to each other reveals the ways in which the conteuses' rewriting of the tale allows for differing degrees of women's control over (their) sexuality. D'Aulnoy and Murat both employ the trope of metamorphosis beyond their source tale's transformation of the fool and add to the characters and plot in order to explore the issues of sexual consent, female desire and agency, and fidelity. I propose that Murat's \"Le Turbot\" purposely engages \"Le Dauphin\" and fulfills the fairy/women writer ethos of Murat's \"Aux Fées Modernes.\"","PeriodicalId":42276,"journal":{"name":"Marvels & Tales-Journal of Fairy-Tale Studies","volume":"64 3 1","pages":"3 - 35"},"PeriodicalIF":0.0,"publicationDate":"2021-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88221701","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-21DOI: 10.13110/MARVELSTALES.34.2.0279
Stijn Praet
Abstract:The Latin narrative poem Asinarius (The Donkey Tale, ca. 1200) is one of the most fairytale-like texts to have come out of the High Middle Ages. Its story tells of a prince born in the shape of an ass who is educated as a proper nobleman, learns to play the lyre, leaves his home, and weds a foreign princess, and on his wedding night is revealed to be a handsome young man. This contribution will provide readers with the first Englishverse translation of this engaging poem.
{"title":"Asinarius, or The Donkey Tale","authors":"Stijn Praet","doi":"10.13110/MARVELSTALES.34.2.0279","DOIUrl":"https://doi.org/10.13110/MARVELSTALES.34.2.0279","url":null,"abstract":"Abstract:The Latin narrative poem Asinarius (The Donkey Tale, ca. 1200) is one of the most fairytale-like texts to have come out of the High Middle Ages. Its story tells of a prince born in the shape of an ass who is educated as a proper nobleman, learns to play the lyre, leaves his home, and weds a foreign princess, and on his wedding night is revealed to be a handsome young man. This contribution will provide readers with the first Englishverse translation of this engaging poem.","PeriodicalId":42276,"journal":{"name":"Marvels & Tales-Journal of Fairy-Tale Studies","volume":"492 1","pages":"279 - 293"},"PeriodicalIF":0.0,"publicationDate":"2021-01-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77799027","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-21DOI: 10.13110/MARVELSTALES.34.2.0197
Adrion Dula
Abstract:This essay examines ableist ideology in various early modern "Beauty and the Beast" tales in contrast to Dominique Demers's 2001 novel Là où la mer commence (There, Where the Sea Begins). I first discuss how ableism permeates both the fairy-tale genre and, to varying degrees, "Beauty and Beast" tales so as to contextualize my reading of how disability is narrated in terms of animality and monstrosity in Demers's postmodern novel. I argue that, in Demers's adaptation, the heroine's acceptance of the beastly character may be read as her internal transition from an ableist gaze, which dehumanizes, stigmatizes, and marginalizes the disabled other, to a non-ableist gaze.
{"title":"B(e)aring the Beast: Deformity, Animality, and the Ableist Gaze in French Literary Variants of \"Beauty and the Beast\"","authors":"Adrion Dula","doi":"10.13110/MARVELSTALES.34.2.0197","DOIUrl":"https://doi.org/10.13110/MARVELSTALES.34.2.0197","url":null,"abstract":"Abstract:This essay examines ableist ideology in various early modern \"Beauty and the Beast\" tales in contrast to Dominique Demers's 2001 novel Là où la mer commence (There, Where the Sea Begins). I first discuss how ableism permeates both the fairy-tale genre and, to varying degrees, \"Beauty and Beast\" tales so as to contextualize my reading of how disability is narrated in terms of animality and monstrosity in Demers's postmodern novel. I argue that, in Demers's adaptation, the heroine's acceptance of the beastly character may be read as her internal transition from an ableist gaze, which dehumanizes, stigmatizes, and marginalizes the disabled other, to a non-ableist gaze.","PeriodicalId":42276,"journal":{"name":"Marvels & Tales-Journal of Fairy-Tale Studies","volume":"1 1","pages":"197 - 220"},"PeriodicalIF":0.0,"publicationDate":"2021-01-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88186943","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-21DOI: 10.13110/MARVELSTALES.34.2.0256
Jennifer C H Sebring, Pauline Greenhill
Abstract:A feminist/queer/crip close textual reading of Disney's The Little Mermaid and its straight-to-DVD sequel, The Little Mermaid II: Return to the Sea, uncovers contrasting cultural narratives of disability. The first film, and mermaid Ariel's story line, represent conservative ideologies of compulsory able-bodiedness and the need for overcoming disability, as well as a strongly reinforced binary of merfolk versus humans. Conversely, the sequel, and (Ariel's and Prince Eric's daughter) Melody's narrative, imagine more progressive desirably disabled futurities and welcome hybrid embodiments through the process of shifting societal perspectives and deconstructing binaries that work to other those with nonnormative bodies.
{"title":"The Body Binary: Compulsory Able-bodiedness and Desirably Disabled Futures in Disney's The Little Mermaid and The Little Mermaid II: Return to the Sea","authors":"Jennifer C H Sebring, Pauline Greenhill","doi":"10.13110/MARVELSTALES.34.2.0256","DOIUrl":"https://doi.org/10.13110/MARVELSTALES.34.2.0256","url":null,"abstract":"Abstract:A feminist/queer/crip close textual reading of Disney's The Little Mermaid and its straight-to-DVD sequel, The Little Mermaid II: Return to the Sea, uncovers contrasting cultural narratives of disability. The first film, and mermaid Ariel's story line, represent conservative ideologies of compulsory able-bodiedness and the need for overcoming disability, as well as a strongly reinforced binary of merfolk versus humans. Conversely, the sequel, and (Ariel's and Prince Eric's daughter) Melody's narrative, imagine more progressive desirably disabled futurities and welcome hybrid embodiments through the process of shifting societal perspectives and deconstructing binaries that work to other those with nonnormative bodies.","PeriodicalId":42276,"journal":{"name":"Marvels & Tales-Journal of Fairy-Tale Studies","volume":"31 1","pages":"256 - 275"},"PeriodicalIF":0.0,"publicationDate":"2021-01-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80696649","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-21DOI: 10.13110/MARVELSTALES.34.2.0221
Woltmann
Abstract:Malinda Lo's 2009 young adult novel Ash extends the legacy of the "Cinderella" story by transforming the tale through a queer lens. The adaptation's heroine, Ash, must choose between joining the realm of the fairies or remaining amongst the living, as signified by her interest in Sidhean, a male fairy, and Kaisa, a female huntress. I argue that the novel further intertextually and metatextually queers the "Cinderella" story by including nonheteronormative relationships; depicting the queer time of fairy tales, dreams, and the carnivalesque; and demonstrating how certain gender and sexual identities are privileged.
{"title":"\"Beneath it all Something as yet Unnamed was Coming into Focus\": A Queer Reading of Malinda Lo's Ash","authors":"Woltmann","doi":"10.13110/MARVELSTALES.34.2.0221","DOIUrl":"https://doi.org/10.13110/MARVELSTALES.34.2.0221","url":null,"abstract":"Abstract:Malinda Lo's 2009 young adult novel Ash extends the legacy of the \"Cinderella\" story by transforming the tale through a queer lens. The adaptation's heroine, Ash, must choose between joining the realm of the fairies or remaining amongst the living, as signified by her interest in Sidhean, a male fairy, and Kaisa, a female huntress. I argue that the novel further intertextually and metatextually queers the \"Cinderella\" story by including nonheteronormative relationships; depicting the queer time of fairy tales, dreams, and the carnivalesque; and demonstrating how certain gender and sexual identities are privileged.","PeriodicalId":42276,"journal":{"name":"Marvels & Tales-Journal of Fairy-Tale Studies","volume":"1 1","pages":"221 - 238"},"PeriodicalIF":0.0,"publicationDate":"2021-01-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89687509","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-21DOI: 10.13110/MARVELSTALES.34.2.0159
Anna Kérchy
Abstract:The essay focuses on the proto-museum as a major leitmotif and narrative engine of Angela Carter's fiction. I explore how hybrid collections of uncategorizable, monstrous– marvelous objects take a variety of forms, from the Renaissance cabinet of curiosities to the Victorian freak show or surrealist exhibitions of found object composites—each fictionalized in Carter's oeuvre. My contention is that Carter's interest in proto-museal assemblages reveals her curiosity about the secret life of things. Her agenda is to represent human subjects and inanimate objects enmeshed on equal planes of reciprocal interactions that hijack the ideologically invested male gaze that aims at a possessive, tyrannical ownership over the objectified othered. The "queering of the look" implied in this radically democratizing revision project ties in with Carter's socialist feminist politics to which she has remained committed throughout her life.
{"title":"The Secret Life of Things: Queering the Museal Gaze in Angela Carter's Postmodern Curiosity Cabinets","authors":"Anna Kérchy","doi":"10.13110/MARVELSTALES.34.2.0159","DOIUrl":"https://doi.org/10.13110/MARVELSTALES.34.2.0159","url":null,"abstract":"Abstract:The essay focuses on the proto-museum as a major leitmotif and narrative engine of Angela Carter's fiction. I explore how hybrid collections of uncategorizable, monstrous– marvelous objects take a variety of forms, from the Renaissance cabinet of curiosities to the Victorian freak show or surrealist exhibitions of found object composites—each fictionalized in Carter's oeuvre. My contention is that Carter's interest in proto-museal assemblages reveals her curiosity about the secret life of things. Her agenda is to represent human subjects and inanimate objects enmeshed on equal planes of reciprocal interactions that hijack the ideologically invested male gaze that aims at a possessive, tyrannical ownership over the objectified othered. The \"queering of the look\" implied in this radically democratizing revision project ties in with Carter's socialist feminist politics to which she has remained committed throughout her life.","PeriodicalId":42276,"journal":{"name":"Marvels & Tales-Journal of Fairy-Tale Studies","volume":"1 1","pages":"159 - 179"},"PeriodicalIF":0.0,"publicationDate":"2021-01-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85509553","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-21DOI: 10.13110/MARVELSTALES.34.2.0180
A. Satkunananthan
Abstract:This essay interrogates the ways in which, through the mise en abyme narrative strategy in White Is for Witching by Helen Oyeyemi and White as Snow by Tanith Lee, various tropes from the Grimm and Disney retellings of "Snow White" are related to the mythic descent to the Underworld, known as the Hellenic katabasis (κατάβασις). Findings reveal that the connection between the mise en abyme refractive narrative strategy and the trope of the katabasis is deployed differently by the two authors to examine trauma in relation to age, gender, and dominant racial discourses.
{"title":"Mise en Abyme and Katabasis: Helen Oyeyemi's and Tanith Lee's Reimaginings of \"Snow White\"","authors":"A. Satkunananthan","doi":"10.13110/MARVELSTALES.34.2.0180","DOIUrl":"https://doi.org/10.13110/MARVELSTALES.34.2.0180","url":null,"abstract":"Abstract:This essay interrogates the ways in which, through the mise en abyme narrative strategy in White Is for Witching by Helen Oyeyemi and White as Snow by Tanith Lee, various tropes from the Grimm and Disney retellings of \"Snow White\" are related to the mythic descent to the Underworld, known as the Hellenic katabasis (κατάβασις). Findings reveal that the connection between the mise en abyme refractive narrative strategy and the trope of the katabasis is deployed differently by the two authors to examine trauma in relation to age, gender, and dominant racial discourses.","PeriodicalId":42276,"journal":{"name":"Marvels & Tales-Journal of Fairy-Tale Studies","volume":"4 1","pages":"180 - 196"},"PeriodicalIF":0.0,"publicationDate":"2021-01-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82005396","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-21DOI: 10.13110/marvelstales.34.2.0239
Olivetti
Abstract:In The Witch: A New England Folktale, writer-director Robert Eggers draws heavily from the fairy-tale tradition, particularly the abandoned children narrative and its most famous representative, "Hansel and Gretel." This tale has been criticized by Jack Zipes for the ways it rationalizes "child abuse in the name of the symbolic order of the father." Rather than perpetuating the power imbalances that sustain social institutions, the film brings to them light through the characterization of family members, their relationships with one another, and the representation of methods by which such abuse often occurs.
{"title":"Lost without Breadcrumbs: Family, Scapegoating, and the Rationalization of Abuse in Robert Eggers's The Witch","authors":"Olivetti","doi":"10.13110/marvelstales.34.2.0239","DOIUrl":"https://doi.org/10.13110/marvelstales.34.2.0239","url":null,"abstract":"Abstract:In The Witch: A New England Folktale, writer-director Robert Eggers draws heavily from the fairy-tale tradition, particularly the abandoned children narrative and its most famous representative, \"Hansel and Gretel.\" This tale has been criticized by Jack Zipes for the ways it rationalizes \"child abuse in the name of the symbolic order of the father.\" Rather than perpetuating the power imbalances that sustain social institutions, the film brings to them light through the characterization of family members, their relationships with one another, and the representation of methods by which such abuse often occurs.","PeriodicalId":42276,"journal":{"name":"Marvels & Tales-Journal of Fairy-Tale Studies","volume":"38 1","pages":"239 - 255"},"PeriodicalIF":0.0,"publicationDate":"2021-01-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75488463","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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