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Smack-Bam, or the Art of Governing Men: Political Fairy Tales of Édouard Laboulaye by Édouard Laboulaye, and: Charles Godfrey Leland and His Magical Tales by Charles Godfrey Leland (review) 《砰,还是统治人类的艺术:Édouard拉沃拉耶的政治童话》(Édouard)和《查尔斯·戈弗雷·利兰和他的魔法故事》(查尔斯·戈弗雷·利兰)(书评)
4区 文学 Q2 Arts and Humanities Pub Date : 2023-03-06 DOI: 10.1353/mat.2022.0041
H. Mummert
Marvels & Tales: Journal of Fairy-Tale Studies, Vol. 36, No. 1, 2022 117 The different sections of the book work well together, and it is particularly helpful that there is an extensive section on suggestions for further reading, allowing the budding scholar of all forms of aquatic beings to do further research on the folklore and beliefs of all mentioned cultures and variants. Anita Harris Satkunananthan National University of Malaysia
《奇迹与故事》:《童话研究杂志》,第36卷,第1期,2022年117本书的不同部分很好地结合在一起,特别有帮助的是,书中有一个关于进一步阅读建议的广泛部分,允许所有形式的水生生物的新兴学者对所有提到的文化和变体的民间传说和信仰做进一步的研究。马来西亚国立大学Anita Harris satkunananathan
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引用次数: 0
Indigenous Voices in Australian Children’s Literature: Indigenous Australian Story 澳洲儿童文学中的原住民之声:澳洲原住民故事
4区 文学 Q2 Arts and Humanities Pub Date : 2023-03-06 DOI: 10.1353/mat.2022.0029
J. O’Conor
Abstract:During the nineteenth and early twentieth centuries, non-Indigenous authors retold Indigenous stories, presenting them as myths or fairy tales. In 1964 the first Indigenous author and artist to do so produced a collection of traditional stories reflective of Indigenous knowledge, teaching, and learning practices. Political advances achieved by Indigenous people during the twentieth century continue to address the imbalance heavily weighted to depictions of Indigenous cultures in children’s books by non-Indigenous producers. I contrast the colonial retelling of Australian Legendary Tales by Kate Langloh Parker with The Legends of Moonie Jarl by Butchulla author and artist Wilf Reeves and Olga Miller to show how transformative an active Indigenous voice is for the Australian literary landscape.
摘要:在19世纪和20世纪初,非土著作家以神话或童话的形式复述土著故事。1964年,第一个这样做的土著作家和艺术家创作了一本反映土著知识、教学和学习实践的传统故事集。土著人民在二十世纪取得的政治进步继续解决非土著生产者在儿童书籍中描绘土著文化的严重失衡问题。我将凯特·朗洛·帕克的《澳大利亚传奇故事》与布查拉作家兼艺术家威尔夫·里夫斯和奥尔加·米勒的《穆尼·贾尔的传说》进行对比,以展示活跃的土著声音对澳大利亚文坛的变革作用。
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引用次数: 0
Craving Supernatural Creatures: German Fairy-Tale Figures in American Pop Culture by Claudia Schwabe (review) 渴望超自然生物:美国流行文化中的德国童话人物克劳迪娅·施瓦贝著(书评)
4区 文学 Q2 Arts and Humanities Pub Date : 2023-03-06 DOI: 10.1353/mat.2022.0047
S. Palma
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引用次数: 0
Reality, Magic, and Other Lies: Fairy-Tale Film Truths by Pauline Greenhill (review) 现实、魔法和其他谎言:宝琳·格林希尔的童话电影真相(书评)
4区 文学 Q2 Arts and Humanities Pub Date : 2023-03-06 DOI: 10.1353/mat.2022.0053
A. Craven
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引用次数: 0
The Australian Fairy Tale Society: Celebrating Eight Years of Enchantment 澳大利亚童话协会:庆祝8年的魅力
4区 文学 Q2 Arts and Humanities Pub Date : 2023-03-06 DOI: 10.1353/mat.2022.0038
Daniel T. McGee

Abstract:

An introduction and history of the Australian Fairy Tale Society.

摘要:澳大利亚童话协会简介及历史。
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引用次数: 0
Disfigured: On Fairy Tales, Disability, and Making Space by Amanda Leduc (review) 《毁容:童话、残疾和创造空间》阿曼达·勒杜克著(书评)
4区 文学 Q2 Arts and Humanities Pub Date : 2023-03-06 DOI: 10.1353/mat.2022.0048
J. Jorgensen
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引用次数: 0
Perpetuating Stereotypical Masculinity in the Australian YA Fairy-Tale Valentine 在澳大利亚青少年童话情人节中延续刻板的男子气概
4区 文学 Q2 Arts and Humanities Pub Date : 2023-03-06 DOI: 10.1353/mat.2022.0033
E. Little
Abstract:Australian fairy-tale masculinity in the young adult (YA) novel Valentine reinscribes modes of maleness in stereotypical forms. This article argues that the character Finn Blacklin marries European fairy lore of violent and monstrous faeries with Australian traditions of “larrikin faeries.” Through the violence associated with the Seelie Courts, and his fear of being othered or deemed feminine as a changeling faerie, Finn perpetuates hegemonic masculinity. As a modern iteration of the “larrikin” faerie, Finn reinscribes overindulgence and misogyny as standard in Australian boyhood. The characterization of Finn in Valentine therefore perpetuates stereotypical understandings of fairy-tale masculinity.
摘要:澳大利亚青年小说《情人节》中的童话式男子气概再现了男性的刻板形式。本文认为芬恩·布莱克林这个角色将欧洲关于暴力和怪物的童话与澳大利亚传统的“拉瑞金童话”结合在一起。通过与Seelie法庭相关的暴力,以及他对被他人或被视为女性化的恐惧,芬恩延续了霸权的男性气质。作为一个现代版的“larrikin”精灵,芬恩将过度放纵和厌女症重新定义为澳大利亚童年的标准。因此,《情人节》中芬恩的形象塑造延续了人们对童话中男子气概的刻板理解。
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引用次数: 0
Fashion in the Fairy Tale Tradition: What Cinderella Wore by Rebecca-Anne C. Do Rozario (review) 《童话传统中的时尚:灰姑娘穿什么》丽贝卡-安妮·c·多·罗萨里奥著(书评)
4区 文学 Q2 Arts and Humanities Pub Date : 2023-03-06 DOI: 10.1353/mat.2022.0049
J. Jorgensen
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引用次数: 0
Contemporary Fairy-Tale Magic: Subverting Gender and Genre ed. by Lydia Brugué and Auba Llompart (review) 《当代童话魔法:颠覆性别与类型》,莉迪亚·布鲁格厄、奥巴·洛姆帕特著(书评)
4区 文学 Q2 Arts and Humanities Pub Date : 2023-03-06 DOI: 10.1353/mat.2022.0044
Sarah N. Lawson
Marvels & Tales: Journal of Fairy-Tale Studies, Vol. 36, No. 1, 2022 123 sensibility into ancient imagery and form (1). They are very short, only two or three pages not including the illustrations, in the clean, spare, elegant language of a poet—I was not surprised to learn that Colasanti writes poetry as well. However, we must include the illustrations, because they are by the author herself, using a technique that resembles woodcut printing. After “The One and Only,” we see a girl’s face reflected in the fragments of a mirror—the mirror that the princess broke so she could have more friends, each one a reflection of herself. In the middle of “Among the Leaves so Green O,” we see the prince and his men out hunting for the doe princess who will eventually elude him when she decides that she would rather be a doe than a queen. In her afterword, translator Adria Frizzi points out that Colasanti trained in visual arts before turning to literature and journalism, and the stories themselves are filled with strong images. Reading them is like walking through a gallery of paintings by Remedios Varo or shuffling a deck of beautiful, enigmatic Tarot cards. Colasanti writes that her interest is in “that timeless thing called the unconscious,” and there is a sense in which her stories resemble dreams (1). However, they are also very much about our waking reality. A True Blue Idea offers two significant pleasures. The first is of course Colasanti’s storytelling. The second is Frizzi’s afterword, in which she discusses Colasanti’s place in Brazilian literature and connects her fairy tales to their political and cultural context. Subtly and subtextually, these tales comment on issues of gender and power. Frizzi points out that A True Blue Idea was originally published “around the time when Brazil was beginning to emerge from an extended period of repression with abertura, the ‘opening’ to democratization initiated by the government of General Figuereido,” whose presidency ended the military regime, and that Colasanti has been committed to women’s issues since she began publishing in the 1960s (55). As Frizzi writes, “the association between fairy tales, fantasy, myth, and discourses of subversion is well known” (55). That link is certainly evident in Colasanti’s lovely, surreal tales. I was astonished to read that it took fifteen years for this translation to find a home. Thanks are due to Wayne State University Press for bringing it to us. Theodora Goss Boston University
奇迹与故事:《童话研究杂志》,第36卷,第1期,2022年123对古代意象和形式的敏感性(1)。它们很短,只有两三页,不包括插图,用诗人干净、简洁、优雅的语言——我并不惊讶于科拉森蒂也写诗。然而,我们必须包括插图,因为它们是作者自己,使用类似木刻印刷的技术。在《独一无二》之后,我们看到一个女孩的脸映在镜子的碎片中——这面镜子是公主打碎的,这样她就可以有更多的朋友,每一个朋友都是她自己的倒影。在《绿叶丛》的中间,我们看到王子和他的手下出去寻找鹿公主,当她决定宁愿做一只鹿也不愿做女王时,鹿公主最终逃离了王子。在她的后记中,译者Adria Frizzi指出Colasanti在转向文学和新闻之前接受过视觉艺术的训练,而这些故事本身充满了强烈的图像。阅读它们就像漫步在雷麦黛丝·瓦罗(Remedios Varo)的绘画画廊,或者洗牌一副美丽而神秘的塔罗牌。科拉桑蒂写道,她的兴趣在于“那种被称为无意识的永恒的东西”,从某种意义上说,她的故事类似于梦(1)。然而,它们也非常贴近我们清醒的现实。一个真正的蓝色的想法提供了两个重要的乐趣。首先当然是Colasanti的故事。第二部分是弗里齐的后记,她在后记中讨论了科拉桑蒂在巴西文学中的地位,并将她的童话故事与巴西的政治和文化背景联系起来。这些故事微妙而潜台词地评论了性别和权力问题。Frizzi指出,《真正的蓝色思想》最初出版的时候,“巴西正开始从长期的镇压中走出来,这是菲格雷多将军(General Figuereido)政府发起的民主化的‘开放’,”菲格雷多将军的总统任期结束了军事政权,而科拉桑蒂自20世纪60年代开始出版以来,一直致力于妇女问题(55)。正如弗里齐所写,“童话、幻想、神话和颠覆话语之间的联系是众所周知的”(55)。这种联系在科拉桑蒂可爱的超现实故事中显而易见。我惊讶地读到,这个译本花了15年才找到归宿。感谢韦恩州立大学出版社为我们提供这本书。狄奥多拉·高斯,波士顿大学
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引用次数: 0
Introduction to the Special Issue: Transplanted Wonder: Australian Fairy Tale 特刊简介:移植的奇迹:澳大利亚童话
4区 文学 Q2 Arts and Humanities Pub Date : 2023-03-06 DOI: 10.1353/mat.2022.0028
Michelle J. Smith, E. Whatman
Marvels & Tales: Journal of Fairy-Tale Studies, Vol. 36, No. 1 (2022), pp. 3–10. Copyright © 2022 by Wayne State University Press, Detroit, MI 48201. What makes an “Australian” fairy tale? Does this designation refer to marvelous narratives with a distinctly Australian bush setting? Or to fiction by Australian authors that is set in a European “once upon a time”? Is such a categorization as the Australian fairy tale even possible? Maurice Saxby once referred to early Australian examples of the genre as “so-called fairy tales,” dismissive of their limited connection with folk traditions (46). However, the literary fairy tale is not always derived from European, or folk, tradition. Moreover, recent attention to decolonizing fairy-tale studies and the fairy-tale canon has emphasized “the specifics of distinct cultures” and has called for resistance to “the twin urges to universalize traditional narratives at the expense of their specific historical and sociocultural contexts and to generalize the European fairy tale as an ahistorical global genre” (Haase 29). While British settlers made attempts to replicate European tale tradition in Australian settings, the fairy tales they produced could never precisely mirror those that evolved through centuries of oral and literary telling. In recent decades this uniqueness—once perceived as a failing—has become a strength of Australian fairy-tale texts. In this special issue, literary scholars and creative writing practitioners examine the way the genre was transplanted to take root in Australia through the process of white settler colonialism and how it has developed to take on its own inflections and possibilities as it has been adopted and adapted by a diverse range of writers, artists, and filmmakers. Reflecting a tendency in the field to center European traditions (Bacchilega 38), there has been surprisingly little scholarly attention devoted to Australian fairy tales until comparatively recently. Lisa Fiander suggests that greater Michelle J. SMith and eMMa WhatMan
奇迹与故事:童话研究杂志,第36卷,第1期(2022),第3-10页。韦恩州立大学出版社版权所有©2022,密歇根州底特律48201。是什么造就了“澳大利亚”童话?这个称号是指以澳大利亚丛林为背景的精彩故事吗?还是澳大利亚作家以欧洲“很久很久以前”为背景的小说?像澳大利亚童话这样的分类可能吗?莫里斯·萨克斯比(Maurice Saxby)曾把澳大利亚早期的这种类型的例子称为“所谓的童话”,对它们与民间传统的有限联系不屑一顾(46)。然而,文学童话并不总是源自欧洲或民间传统。此外,最近对非殖民化童话研究和童话经典的关注强调了“独特文化的特殊性”,并呼吁抵制“以牺牲其特定的历史和社会文化背景为代价使传统叙事普遍化的双重冲动,以及将欧洲童话概括为一种非历史的全球类型”(Haase 29)。虽然英国殖民者试图在澳大利亚的背景下复制欧洲的故事传统,但他们创作的童话从来没有准确地反映出那些经过几个世纪的口头和文学讲述演变而来的故事。近几十年来,这种独特性——曾经被认为是一种失败——已经成为澳大利亚童话文本的力量。在本期特刊中,文学学者和创意写作实践者研究了这种类型是如何通过白人定居者殖民主义的过程移植到澳大利亚扎根的,以及它是如何发展出自己的变化和可能性的,因为它被各种各样的作家、艺术家和电影制作人所采用和改编。令人惊讶的是,直到最近,学术界对澳大利亚童话的关注才有所减少,这反映了该领域以欧洲传统为中心的趋势(Bacchilega 38)。Lisa Fiander建议更优秀的是Michelle J. SMith和eMMa WhatMan
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Marvels & Tales-Journal of Fairy-Tale Studies
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