Marvels & Tales最新文献

{"title":"Approaches to Teaching the Thousand and One Nights ed. by Paul Lemos Horta (review)","authors":"J. D. Jorgensen","doi":"10.1353/mat.2025.a960574","DOIUrl":"https://doi.org/10.1353/mat.2025.a960574","url":null,"abstract":"","PeriodicalId":516073,"journal":{"name":"Marvels & Tales","volume":"39 1","pages":"202-205"},"PeriodicalIF":0.0,"publicationDate":"2025-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"147914031","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Annotated Arabian Nights: Tales from 1001 Nights ed. by Paulo Lemos Horta (review)","authors":"Abigail Keyes","doi":"10.1353/mat.2024.a953127","DOIUrl":"https://doi.org/10.1353/mat.2024.a953127","url":null,"abstract":"","PeriodicalId":516073,"journal":{"name":"Marvels & Tales","volume":"38 2","pages":"312-315"},"PeriodicalIF":0.0,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"147884227","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Fairy Tales 101: An Accessible Introduction to Fairy Tales by Jeana Jorgensen (review)","authors":"","doi":"10.1353/mat.2024.a937548","DOIUrl":"https://doi.org/10.1353/mat.2024.a937548","url":null,"abstract":"","PeriodicalId":516073,"journal":{"name":"Marvels & Tales","volume":"38 1","pages":"140-142"},"PeriodicalIF":0.0,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"147890848","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"There’s More Than One Way to Skin a Cat: Animal Impersonation on the Pantomime Stage","authors":"Simon Sladen","doi":"10.1353/mat.2024.a953118","DOIUrl":"https://doi.org/10.1353/mat.2024.a953118","url":null,"abstract":"Abstract: From the cow in Jack and the Beanstalk to the cat in Dick Whittington and goose in Mother Goose , animals are central characters in many pantomime narratives adapted for the stage from fairy and folktales. This article charts the evolution of the pantomime skin role, from the Victorian practice of specialist animal performers in costumes made from natural materials, to today’s bipedal walking, talking, comedic creatures who constitute fairy-tale best friends and family members. Paying particular attention to key practitioners and their costumes, I explore how pantomimes, and through them fairy tales, capture, embed, and disseminate changing ideas about human and animal relationships.","PeriodicalId":516073,"journal":{"name":"Marvels & Tales","volume":"38 2","pages":"205-229"},"PeriodicalIF":0.0,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"147922681","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Inviting Interruptions: Wonder Tales in the 21st Century ed. by Cristina Bacchilega and Jennifer Orme (review)","authors":"Theodora Goss","doi":"10.1353/mat.2023.a923693","DOIUrl":"https://doi.org/10.1353/mat.2023.a923693","url":null,"abstract":"Reviewed by: Inviting Interruptions: Wonder Tales in the 21st Century ed. by Cristina Bacchilega and Jennifer Orme Theodora Goss (bio) Inviting Interruptions: Wonder Tales in the 21st Century. Edited by Cristina Bacchilega and Jennifer Orme, Wayne State University Press, 2021, 225 pp. Structurally, Cristina Bacchilega and Jennifer Orme's Inviting Interruptions: Wonder Tales in the 21st Century resembles the image on its cover: a polymer clay Medusa created by Orme's eleven-year-old niece, which is also one of the images showcased in the anthology. The Medusa is small but powerful: she has a hot pink face surrounded by black tentacular hair and hot pink arms with hands that are tucked demurely into her lap. Her dress is also black and tentacular, as though an extension of her hair. She is both cute and menacing, and her tentacles go every which way at once. This anthology also goes every which way at once. It includes a selection of short stories, but also works of art in pen, pastel, and oil; photographic prints; film stills; sculptures; and less classifiable multimedia projects. At the same time, like the implied body of the Medusa, it has a central theoretical trunk, announced in the editors' introduction. Bacchilega and Orme tell us that although in the twenty-first century \"fairy tales continue to interest and enchant general audiences, students, and scholars,\" the goal of their anthology is to \"assemble a small sampling of wonder tales and images that put pressure on and reanimate the genre from perspectives that are not accounted for in its mainstream iterations\" (ix). These two statements set up a distinction fundamental to the anthology; Bacchilega and Orme propose to interrupt the \"magical enchantment enacted upon audiences by the mainstream fairy tale\" by harnessing the \"active speculation and awe inspired by the wonder tale\" (xi). Their anthology functions as an interruption in two ways. The individual stories and images interrupt the fairy-tale tradition to various degrees and in various ways, while the anthology itself interrupts what has essentially [End Page 345] become the genre of the retold fairy-tale collection, which first became popular with Ellen Datlow and Terri Windling's Snow White, Blood Red (1993). It contains fiction by only two authors usually associated with fairy-tale retellings: Emma Donoghue's \"The Tale of the Cottage\" and Kelly Link's \"Swans.\" Nalo Hopkinson, another of those authors, is represented by an image rather than a story: a depiction of a mature Red Riding Hood dressed in her signature color titled Still Rather Fond of Red. For Bacchilega and Orme, one important distinction is that older collections focused on feminist interventions, while their anthology is explicitly intersectional. An equally important distinction is its inclusion of stories and images that do not respond in a clear, explicit way to the fairy-tale tradition. They are, in a sense, the tentacles that point in the most unexpected direct","PeriodicalId":516073,"journal":{"name":"Marvels & Tales","volume":"37 2","pages":"345-347"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"147904908","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Original Bambi: The Story of a Life in the Forest by Felix Salten (review)","authors":"Francesca Arnavas","doi":"10.1353/mat.2023.a900265","DOIUrl":"https://doi.org/10.1353/mat.2023.a900265","url":null,"abstract":"Reviewed by: The Original Bambi: The Story of a Life in the Forest by Felix Salten Francesca Arnavas (bio) The Original Bambi: The Story of a Life in the Forest. By Felix Salten, translated and introduced by Jack Zipes, illustrated by Alenka Sottler, Princeton University Press, 2022, 161 pp. But of all his teachings the most important one was you must learn to live alone, if you want to protect yourself, if you want to grasp the meaning of existence, if you want to attain wisdom. You had to learn to live alone! (145) The main message that emerges from Felix Salten's Bambi: The Story of a Life in the Forest, in Jack Zipes's new translation, is not what we would expect it to be: for most of us the name Bambi evokes the 1942 Disney movie, where the [End Page 113] depiction of the life of the big-eyed reddish deer comes with a happy ending in which Bambi is together with Faline and father of two beautiful baby deer. In the explanatory and illuminating introduction to his new translation, Zipes points out that the previous English translation, by Whittaker Chambers, is \"filled with all sorts of errors and fails to capture Salten's unusual Viennese style of writing and anthropomorphism\" (xviii). Disney's sugar-coated interpretation of Bambi came from Chambers's translation. Of course, Disney is known to have twisted and dulcified many literary texts that were originally extremely complex (such as Lewis Carroll's Alice's Adventures in Wonderland, 1865; J. M. Barrie's Peter and Wendy, 1911; Hans Christian Andersen's \"The Little Mermaid,\" 1837), but the mistakes, the \"gentle language\" (Gurdon, The Wall Street Journal, January 14, 2022), and the loss of \"the transcendental dimension that the original novel contains\" (Strümper-Krobb, Austrian Studies, vol. 23, 2015) in Chambers's translation could have had an impact on how Disney retold the story. Sabine Strümper-Krobb emphasizes how many of the terms referring to the human world and applied to the animal kingdom that Salten used to create a stronger connection between humans and animals are changed by Chambers with more zoological, naturalistic words, reducing in this way the anthropomorphizing process of the original text. Similarly, words pertaining to the semantic field of metaphysical and religious experiences are toned down by Chambers, again opting for a more zoologically realistic depiction. Zipes's new translation not only is able to give us back the whole rich, multilayered complexity of Salten's story, a story that can be read as \"a German Bildungsroman, or novel of education; an existentialist autobiography, and a defense of animal rights\" (xxii), but his beautiful introduction, \"Born to Be Killed,\" traces an extremely relevant parallelism between the vicissitudes represented in Bambi and Salten's own life tribulations and contradictions. Salten was an Austro-Hungarian Jew, who had to struggle against anti-Semitism, poverty, and exclusion, learning to survive relying just on his own forces and g","PeriodicalId":516073,"journal":{"name":"Marvels & Tales","volume":"37 1","pages":"113-116"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"147892552","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Rumpelstiltskin's Secret: What Women Didn't Tell the Grimms by Harry Rand (review)","authors":"Abigail Heiniger","doi":"10.1353/mat.2023.a923699","DOIUrl":"https://doi.org/10.1353/mat.2023.a923699","url":null,"abstract":"Reviewed by: Rumpelstiltskin's Secret: What Women Didn't Tell the Grimms by Harry Rand Abigail Heiniger (bio) Rumpelstiltskin's Secret: What Women Didn't Tell the Grimms. By Harry Rand, Routledge, 2020, 274 pp. In a review for the Washington Post, Menachem Wecker contextualizes Harry Rand's latest book, Rumpelstiltskin's Secret (2020), within his diverse professional career (A4). Rand, the senior curator, Cultural History, of the Smithsonian Institution, has patents for space vehicles and has written books that range from medieval culinary culture to Dutch Renaissance artists. In this new book, Rand does a psychoanalytic reading of the English translation of the Grimms' \"Rumpelstilzchen.\" Beginning with the first footnote, Rand distances his work from folklore and fairy-tale studies. He states: \"To the vexation of diploma-bearing specialists I intend to be easy going with such fine points of their livelihood\" (10). Throughout the book, Rand repeatedly eschews both the definitions and scholarly approaches of fairy-tale and folklore studies to address an audience he describes as: \"the rest of us\" (9, 10). Rumpelstiltskin's Secret could be positively positioned as what Donald Haase identifies as the \"private readings\" that exchange verifiable sociohistorical analysis for more personal perspectives and experiences with the \"living meaning of fairy tales\" (The Reception of Grimms' Fairy Tales: Responses, Reactions, Revisions [1993], 243–44). Haase defends the coexistence of these private readings along with empirical scholarly readings (243–45); they demonstrate the flexibility of the genre to adapt to new cultural contexts. [End Page 343] Rumpelstiltskin's Secret explores a wide range of ideas for its popular audience. Rand draws connections between the English character of Rumpelstiltskin and everything from pre-Celtic Europeans to the flaccid penises mocked in the Spinnstube in Germany. He takes the reader on a fast-paced, entertaining journey that romps across Europe only to circle back to Freudian psychoanalysis. To support the rapid turns in the argument, the table of contents includes eighty-eight section headings along with the twelve chapter headings. The psychoanalytic anchor of Rumpelstiltskin's Secret is the name \"Rumpelstiltskin.\" \"Rumpelstiltskin,\" Edward Taylor's 1823 transliteration of the Grimms' title character, Rumpelstilzchen, is invested with unconscious Indo-European linguistic meaning for Rand. He goes far beyond German or English, tracing the roots of the terms \"rumple\" and \"stilt\" through Greek, Dutch, Norwegian, and Frankish (38). However, Taylor's English transliteration is ultimately the key to this reading, because Taylor changed the ending of the German name from \"-zchen\" to \"-skin.\" Covering the rumple-stilt or rumple stick in skin turns it into a phallic symbol for Rand. This reading takes up the first two chapters of the book, and Rand returns to it throughout. However, in chapter 6, Rand suddenly shifts gears and clai","PeriodicalId":516073,"journal":{"name":"Marvels & Tales","volume":"37 2","pages":"343-345"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"147897683","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}