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“I have used this textbook for four courses on children’s literature with enrollments of over ninety students. It is without doubt the most well organized selection of literary fairy tales and critical commentaries currently available. Students love it.” —Lita Barrie, California State University, Los Angeles This Norton Critical Edition includes: · Seven different tale types: “Little Red Riding Hood,” “Beauty and the Beast,” “Snow White,” “Sleeping Beauty,” “Cinderella,” “Bluebeard,” and “Tricksters.” These groupings include multicultural versions, literary rescriptings, and introductions and annotations by Maria Tatar. · Tales by Hans Christian Andersen and Oscar Wilde. · More than fifteen critical essays exploring the various aspects of fairy tales. New to the Second Edition are interpretations by Ernst Bloch, Walter Benjamin, Max Lüthi, Lewis Hyde, Jessica Tiffin, and Hans-Jörg Uther. · A revised and updated Selected Bibliography.
Focusing on six types of tales in variants from around the world, essays explore the genre, cultural implications, and critical history.
SUMMARY: Presents the texts of twenty-four well-known fairy tales as they were first printed in English and summarizes the history of each title, especially from the textual point of view.
I. Children's literature? -- 1. Sex and violence : the hard core of fairy tales -- 2. Fact and fantasy : the art of reading fairy tales -- 3. Victims and seekers : the family romance of fairy tales -- II. Heroes -- 4. Born yesterday : The spear side -- 5. Spinning tales : the distaff side -- III. Villains -- 6. From nags to witches : stepmothers and other ogres -- 7. Taming the beast : Bluebeard and other monsters -- Epilogue : getting even -- Appendixes -- A. Six fairy tales from the Nursery and household tales, with commentary -- B. Selected tales from the first edition of the Nursery and household tales -- C. Prefaces to the first and second editions of the Nursery and household tales -- D. English titles, tale numbers, and German titles of stories cited -- E. Bibliographical note.
The fairy tale may be one of the most important cultural and social influences on children's lives. But until Fairy Tales and the Art of Subversion, little attention had been paid to the ways in which the writers and collectors of tales used traditional forms and genres in order to shape children's lives – their behavior, values, and relationship to society. As Jack Zipes convincingly shows, fairy tales have always been a powerful discourse, capable of being used to shape or destabilize attitudes and behavior within culture. For this new edition, the author has revised the work throughout and added a new introduction bringing this classic title up to date.
The four works collected in this volume reveal the fascinating preoccupations of the German Romantic movement, which revelled in the inexplicable, the uncanny and the unknown and, especially, the mysterious world of the fairy tale. Goethe's richly imaginative Fairy Tale (1795) depicts an ethereal underground realm and the marriage of a beautiful man and woman, whose union heralds a new age. In Tieck's Eckbert the Fair (1797) two outsiders seek refuge in the solitude of dark woods to conceal their incestuous passion from the world, while in Fouque's Undine (1811) a water nymph falls in love and acquires a soul, and so discovers the reality of human suffering. And Brentano's Tale of Honest Casper and Fair Annie (1817) portrays the tragedy of a young couple, destroyed by a false sense of honour and pride.
The fairy tale lives again in this book of forty new stories by some of the biggest names in contemporary fiction, science fiction, fantasy, and magical realism. Neil Gaiman, “Orange” Aimee Bender, “The Color Master” Joyce Carol Oates, “Blue-bearded Lover” Michael Cunningham, “The Wild Swans” These and more than thirty other stories by Francine Prose, Kelly Link, Jim Shepard, Lydia Millet, and many other extraordinary writers make up this thrilling celebration of fairy tales—the ultimate literary costume party. Spinning houses and talking birds. Whispered secrets and borrowed hope. Here are new stories sewn from old skins, gathered by visionary editor Kate Bernheimer and inspired by everything from Hans Christian Andersen’s “The Snow Queen” and “The Little Match Girl” to Charles Perrault’s “Bluebeard” and “Cinderella” to the Brothers Grimm’s “Hansel and Gretel” and “Rumpelstiltskin” to fairy tales by Goethe and Calvino and from China, Japan, Vietnam, Russia, Norway, and Mexico. Fairy tales are our oldest literary tradition, and yet they chart the imaginative frontiers of the twenty-first century as powerfully as they evoke our earliest encounters with literature. This exhilarating collection restores their place in the literary canon.
Tatar challenges the assumptions we make about childhood reading. By exploring how beauty and horror operate in children's literature, she examines how and what children read, showing how literature transports and transforms children with its intoxicating, captivating and occasionally terrifying energy.
Thirty of Hans Christian Andersen's most cherished stories in single volumes Illustrator various artists. Known all over the world, these fairytales hold stories of great value and are a source of inspiration for both young and old.
2009 CHOICE Outstanding Academic Title Where did Cinderella come from? Puss in Boots? Rapunzel? The origins of fairy tales are looked at in a new way in these highly engaging pages. Conventional wisdom holds that fairy tales originated in the oral traditions of peasants and were recorded for posterity by the Brothers Grimm during the nineteenth century. Ruth B. Bottigheimer overturns this view in a lively account of the origins of these well-loved stories. Charles Perrault created Cinderella and her fairy godmother, but no countrywoman whispered this tale into Perrault's ear. Instead, his Cinderella appeared only after he had edited it from the book of often amoral tales published by Giambattista Basile in Naples. Distinguishing fairy tales from folktales and showing the influence of the medieval romance on them, Bottigheimer documents how fairy tales originated as urban writing for urban readers and listeners. Working backward from the Grimms to the earliest known sixteenth-century fairy tales of the Italian Renaissance, Bottigheimer argues for a book-based history of fairy tales. The first new approach to fairy tale history in decades, this book answers questions about where fairy tales came from and how they spread, illuminating a narrative process long veiled by surmise and assumption.