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This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.
First published in 1989. Routledge is an imprint of Taylor & Francis, an informa company.
In over 1,000 entries, this acclaimed Companion covers all aspects of the Western fairy tale tradition, from medieval to modern, under the guidance of Professor Jack Zipes. It provides an authoritative reference source for this complex and captivating genre, exploring the tales themselves, the writers who wrote and reworked them, and the artists who illustrated them. It also covers numerous related topics such as the fairy tale and film, television, art, opera, ballet, the oral tradition, music, advertising, cartoons, fantasy literature, feminism, and stamps. First published in 2000, 130 new entries have been added to account for recent developments in the field, including J. K. Rowling and Suzanne Collins, and new articles on topics such as cognitive criticism and fairy tales, digital fairy tales, fairy tale blogs and websites, and pornography and fairy tales. The remaining entries have been revised and updated in consultation with expert contributors. This second edition contains beautifully designed feature articles highlighting countries with a strong fairy tale tradition, covering: Britain and Ireland, France, Germany, Italy, Japan, North America and Canada, Portugal, Scandinavian countries, Slavic and Baltic countries, and Spain. It also includes an informative and engaging introduction by the editor, which sets the subject in its historical and literary context. A detailed and updated bibliography provides information about background literature and further reading material. In addition, the A to Z entries are accompanied by over 60 beautiful and carefully selected black and white illustrations. Already renowned in its field, the second edition of this unique work is an essential companion for anyone interested in fairy tales in literature, film, and art; and for anyone who values the tradition of storytelling.
Since the beginning of the nineteenth century folklorists, and the general public in their wake, have assumed the orality of fairy tales. Only lately have more and more specialists been arguing in favour of at least an interdependence between oral and printed distribution of stories. This book takes an extreme position in that debate: as far as Tales of magic is concerned, the initial transmission proceded exclusively through prints. From a historical perspective, this is the only viable approach; the opposite assumption of a vast unrecorded and thus inaccessible reservoir of oral stories, presents a horror vacui. Only in the course of the nineteenth century, when folklorists started collecting in the field and asked their informants for fairy tales, was this particular genre incorporated into a then feeble oral tradition. Even then story tellers regularly reverted to printed texts. Every recorded fairy tale can be shown to be dependent on previous publications, or to be a new composition, constructed on the basis of fragments of stories already in existence. Tales of magic, tales in print traces the textual history of a number of fairy tale clusters, linking the findings of literary historians on the sixteenth to eighteenth centuries to the material collected by nineteenth- and twentieth-century field workers. While it places fairy tales as a genre firmly in a European context, it also follows particular stories in their dispersion over the rest of the world.
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1856 edition. Excerpt: ... THE RED CAPS. Chapter I.--About The Baron. Baron Irritablehausen was a powerful prince; and he had always been a powerful prince, even from the days of his childhood, when he pinched and scratched all those who were deputed to take care of him; and, now that he was fifty years of age, he continued the same behaviour, only that his pinches were harder and his scratches deeper. All the people appointed to the places about his court were very proud of the honor, but very much afraid of the consequences, for the mighty baron was not at all particular about whom he hit; high or low, if they crossed his temper, woe betide them. The ringing of his morning-bell created as much confusion as firing a gun near a dove-cote; the consternation and flying about was dreadful. It was curious to observe the anxiety evinced by the whole court to know the state of his temper when he arose. They watched, with the utmost anxiety, the countenance of his first lord-in-Avaiting, who, of course, was the first to see him and take in his hot water. If he came out from his stormy lord smiling, every heart was rejoiced; but if, on the contrary, he came out with a black eye and a disordered ruff, a deep and suppressed groan betokened the inward terror of the whole household. The great baron's china bill was enormous, for he had the little amiable weakness of smashing any material of the kind that came in his way when the storm arose in his bosom; upon such occasions all the lords and all the ladies of his ante-chamber who might be smiling and chattering in the most agreeable and trifling manner, would suddenly stop, listen, and tremble, li The hair and mustachios of the noble lords would uncurl and straighten, whilst the rouge would sink, and leave the cheeks of the...