Maria Tatar analyses the many forms the tale of Bluebeard's wife has taken over time, showing how artists have taken the Bluebeard theme and revived it with their own signature twists.
When Hansel and Gretel try to eat the witch's gingerbread house in the woods, are they indulging their "uncontrolled cravings" and "destructive desires" or are they simply responding normally to the hunger pangs they feel after being abandoned by their parents? Challenging Bruno Bettelheim and other critics who read fairy tales as enactments of children's untamed urges, Maria Tatar argues that it is time to stop casting the children as villians. In this provocative book she explores how adults mistreat children, focusing on adults not only as hostile characters in fairy tales themselves but also as real people who use frightening stories to discipline young listeners.
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.
“With her trademark brio and deep-tissue understanding, Maria Tatar opens the glass casket on this undying story, which retains its power to charm twenty-one times, and counting.” —Gregory Maguire, author of Wicked The story of the rivalry between a beautiful, innocent girl and her cruel and jealous mother has been endlessly repeated and refashioned all over the world. The Brothers Grimm gave this story the name by which we know it best, and in 1937 Walt Disney sweetened their somber version to make the first feature-length, animated fairy tale, Snow White and the Seven Dwarfs. Since then, the Disney film has become our cultural touchstone—the innocent heroine, her evil stepmother, the envy that divides them, and a romantic rescue from domestic drudgery and maternal persecution. But each culture has its own way of telling this story of jealousy and competition. An acclaimed folklorist, Maria Tatar brings to life a global melodrama of mother-daughter rivalries that play out in unforgettable variations across countries and cultures. “Fascinating...A strange, beguiling history of stories about beauty, jealousy, and maternal persecution.” —Wall Street Journal “Is the story of Snow White the cruelest, the deepest, the strangest, the most mythopoeic of them all?...Tatar trains a keen eye on the appeal of the bitter conflict between women at the heart of the tale...a feast of rich thoughts...An exciting and authoritative anthology from the wisest good fairy in the world of the fairy tale.” —Marina Warner “The inimitable Maria Tatar offers us a maze of mothers and daughters and within that glorious tangle an archetype with far more meaning than we imagine when we say ‘Snow White.’” —Honor Moore “Shocking yet familiar, these stories...retain the secret whisper of storytelling. This is a properly magical, erudite book.” —Literary Review
In a book that confronts our society's obsession with sexual violence, Maria Tatar seeks the meaning behind one of the most disturbing images of twentieth-century Western culture: the violated female corpse. This image is so prevalent in painting, literature, film, and, most recently, in mass media, that we rarely question what is at stake in its representation. Tatar, however, challenges us to consider what is taking place--both artistically and socially--in the construction and circulation of scenes depicting sexual murder. In examining images of sexual murder (Lustmord), she produces a riveting study of how art and murder have intersected in the sexual politics of culture from Weimar Germany to the present. Tatar focuses attention on the politically turbulent Weimar Republic, often viewed as the birthplace of a transgressive avant-garde modernism, where representations of female sexual mutilation abound. Here a revealing episode in the gender politics of cultural production unfolds as male artists and writers, working in a society consumed by fear of outside threats, envision women as enemies that can be contained and mastered through transcendent artistic expression. Not only does Tatar show that male artists openly identified with real-life sexual murderers--George Grosz posed as Jack the Ripper in a photograph where his model and future wife was the target of his knife--but she also reveals the ways in which victims were disavowed and erased. Tatar first analyzes actual cases of sexual murder that aroused wide public interest in Weimar Germany. She then considers how the representation of murdered women in visual and literary works functions as a strategy for managing social and sexual anxieties, and shows how violence against women can be linked to the war trauma, to urban pathologies, and to the politics of cultural production and biological reproduction. In exploring the complex relationship between victim and agent in cases of sexual murder, Tatar explains how the roles came to be destabilized and reversed, turning the perpetrator of criminal deeds into a defenseless victim of seductive evil. Throughout the West today, the creation of similar ideological constructions still occurs in societies that have only recently begun to validate the voices of its victims. Maria Tatar's book opens up an important discussion for readers seeking to understand the forces behind sexual violence and its portrayal in the cultural media throughout this century.
World-renowned folklorist Maria Tatar reveals an astonishing but long-buried history of heroines, taking us from Cassandra and Scheherazade to Nancy Drew and Wonder Woman. The Heroine with 1,001 Faces dismantles the cult of warrior heroes, revealing a secret history of heroinism at the very heart of our collective cultural imagination. Maria Tatar, a leading authority on fairy tales and folklore, explores how heroines, rarely wielding a sword and often deprived of a pen, have flown beneath the radar even as they have been bent on redemptive missions. Deploying the domestic crafts and using words as weapons, they have found ways to survive assaults and rescue others from harm, all while repairing the fraying edges in the fabric of their social worlds. Like the tongueless Philomela, who spins the tale of her rape into a tapestry, or Arachne, who portrays the misdeeds of the gods, they have discovered instruments for securing fairness in the storytelling circles where so-called women’s work—spinning, mending, and weaving—is carried out. Tatar challenges the canonical models of heroism in Joseph Campbell’s The Hero with a Thousand Faces, with their male-centric emphases on achieving glory and immortality. Finding the women missing from his account and defining their own heroic trajectories is no easy task, for Campbell created the playbook for Hollywood directors. Audiences around the world have willingly surrendered to the lure of quest narratives and charismatic heroes. Whether in the form of Frodo, Luke Skywalker, or Harry Potter, Campbell’s archetypical hero has dominated more than the box office. In a broad-ranging volume that moves with ease from the local to the global, Tatar demonstrates how our new heroines wear their curiosity as a badge of honor rather than a mark of shame, and how their “mischief making” evidences compassion and concern. From Bluebeard’s wife to Nancy Drew, and from Jane Eyre to Janie Crawford, women have long crafted stories to broadcast offenses in the pursuit of social justice. Girls, too, have now precociously stepped up to the plate, with Hermione Granger, Katniss Everdeen, and Starr Carter as trickster figures enacting their own forms of extrajudicial justice. Their quests may not take the traditional form of a “hero’s journey,” but they reveal the value of courage, defiance, and, above all, care. “By turns dazzling and chilling” (Ruth Franklin), The Heroine with 1,001 Faces creates a luminous arc that takes us from ancient times to the present day. It casts an unusually wide net, expanding the canon and thinking capaciously in global terms, breaking down the boundaries of genre, and displaying a sovereign command of cultural context. This, then, is a historic volume that informs our present and its newfound investment in empathy and social justice like no other work of recent cultural history.
A compelling set of short stories from the author of World War I classic, All Quiet on the Western Front German-American novelist Erich Maria Remarque captured the emotional anguish of a generation in his World War I masterpiece, All Quiet on the Western Front, as well as in an impressive selection of novels, plays, and short stories. This exquisite collection revives Remarque’s unforgettable voice, presenting a series of short stories that have long ago faded from public memory. From the haunting description of an abandoned battlefield to the pain of losing a loved one in the war to soldiers’ struggles with what we now recognize as PTSD, the stories offer an unflinching glimpse into the physical, emotional, and even spiritual implications of World War I. In this collection, we follow the trials of naïve war widow Annette Stoll, reflect on the power of small acts of kindness toward a dying soldier, and join Johann Bartok, a weary prisoner of war, in his struggle to reunite with his wife. Although a century has passed since the end of the Great War, Remarque’s writing offers a timeless reflection on the many costs of war. Eight Stories offers a beautiful tribute to the pain that war inflicts on soldiers and civilians alike, and resurrects the work of a master author whose legacy – like the war itself – will endure for generations to come.
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.
Recipient of the 2020 Lewis Lockwood Award from the American Musicological Society What are the uses of musical exoticism? In Wild Music, Maria Sonevytsky tracks vernacular Ukrainian discourses of "wildness" as they manifested in popular music during a volatile decade of Ukrainian political history bracketed by two revolutions. From the Eurovision Song Contest to reality TV, from Indigenous radio to the revolution stage, Sonevytsky assesses how these practices exhibit and re-imagine Ukrainian tradition and culture. As the rise of global populism forces us to confront the category of state sovereignty anew, Sonevytsky proposes innovative paradigms for thinking through the creative practices that constitute sovereignty, citizenship, and nationalism.
Russia has changed dramatically since the beginning of this decade. This volume presents a unique collection of articles by Russian scholars and experts, originally published in Russian in the journal Kontrapunkt (Counterpoint). The authors include Yulia Bederova, Andrey Desnitsky, Maria Eismont, Aleksandr Gorbachev, Tatiana Nefedova, Ella Paneyakh, Sergey Parkhomenko, Nikolay Petrov, Kirill Rogov, Sergey Sergeev, Ekaterina Sokiryanskaya, Andrey Soldatov, Svetlana Solodovnik, Anna Tolstova, Aleksandr Verkhovsky, and Natalia Zubarevich. Their essays cover a broad range of subjects from the Russian political scene and state-society relations to the politics of culture and the realm of ideas and symbols. These contributions offer fascinating insights into Russia’s multifaceted and complex development after the annexation of Crimea in 2014.
With over 2,200 recipes in 29 categories, Polish Heritage Cookery is the most extensive and varied Polish cookbook ever published. This illustrated edition of the bestseller includes 20 color photographs. "A encyclopedia of Polish cookery and a wonderful thing to have!"--Julia Child, Good Morning America
This book provides a comprehensive study of professional learning courses in intercultural settings, exploring how this impacts teachers and brings about change in classrooms, culture across schools as a whole, and children’s lives. The authors argue that teachers and schools must raise the stakes globally in an intercultural practice grounded in educational equity and anti-racism. Identifying the attributes that make a difference in teacher intercultural learning and change through analysis of both quantitative and qualitative data, the study throws up marked tensions and contradictions between the desire to explore both an abstract personal concept and achieve practical outcomes in schools. As case studies of two primary schools dig deep into teachers’ lives, the book proposes a model of personal teacher interculturality which is constructed from the inside out. The potential of neglected spaces in schools for intercultural identity is also highlighted by images of new practice. This book is a supportive resource for schools or educational institutions, in any global context, that are seeking a fresh approach to intercultural education and holistic change.
We live in times of change. Banks continue to be all about money. But money is less and less about banks. Nowadays people pay, send money, borrow, lend, invest and secure financing for projects increasingly without the involvement of banks. Understanding the fintech phenomenon is an imperative for us all. "Fintech Explained" covers some of the main themes related to fintech: P2P lending, alternative payments, blockchain, cryptocurrencies and wealthtech. This book is addressed to a broad audience and consequently is aiming to cover potential concerns from all of them: students, finance and banking professionals and in general all readers who are passionate about innovation, technology and finance, and who are keen to stay up-to-date with the fast-paced developments that are occurring around us. The book is hopefully answering many questions, but it aims to set the ground where additional further questions will be asked. By you, the readers.
Much of what we know about the colourful Russian middle ages comes from legal sources: the treaties of Russian-Scandinavian warlords with the Byzantine emperors, the gradual penetration of Christianity and Byzantine institutions, the endless game of war and peace among the numerous regional princes, the activities of Hanseatic merchants in the wealthy city-republic of Novgorod, the curious relationships between the Mongol conquerors and Russian rulers and church dignitaries, etc. And, at the even further fringes of medieval Europe, there were the Christian kingdoms of Armenia and Georgia, squeezed between the Islamic empires of Iran and Turkey, but each possessing their elaborate and original legal systems. A discussion of more general questions of legal history and legal anthropology precedes the treatment of these various topics.
In The Icon and the Square, Maria Taroutina examines how the traditional interests of institutions such as the crown, the church, and the Imperial Academy of Arts temporarily aligned with the radical, leftist, and revolutionary avant-garde at the turn of the twentieth century through a shared interest in the Byzantine past, offering a counternarrative to prevailing notions of Russian modernism. Focusing on the works of four different artists—Mikhail Vrubel, Vasily Kandinsky, Kazimir Malevich, and Vladimir Tatlin—Taroutina shows how engagement with medieval pictorial traditions drove each artist to transform his own practice, pushing beyond the established boundaries of his respective artistic and intellectual milieu. She also contextualizes and complements her study of the work of these artists with an examination of the activities of a number of important cultural associations and institutions over the course of several decades. As a result, The Icon and the Square gives a more complete picture of Russian modernism: one that attends to the dialogue between generations of artists, curators, collectors, critics, and theorists. The Icon and the Square retrieves a neglected but vital history that was deliberately suppressed by the atheist Soviet regime and subsequently ignored in favor of the secular formalism of mainstream modernist criticism. Taroutina’s timely study, which coincides with the centennial reassessments of Russian and Soviet modernism, is sure to invigorate conversation among scholars of art history, modernism, and Russian culture.
Originally published in 1996. A detailed analysis of the art of children's literature covering world literature for children, children's literature as a canonical art form, the history of children's literature from a semiotic perspective, and epic, polyphony, chronotope, intertextuality, and metafiction in children's literature.
Most economic theory is based on the assumption that economies grow in a linear fashion. Recessions, depressions and (financial) crises are explained by policy mistakes. However, economic development has historically been uneven, and this state of affairs continues today. This book argues that twentieth century economic theory has marginalized individualism and organizational variety, and puts forward the case for a pluralist approach. This book represents a unique synthesis of business theory and economic theory, which pinpoints the problems with many current mainstream theories and sets out new agendas for research. Here, Maria Brouwer argues that market competition is not about adapting to changes from outside, but is driven by human motivation and goal directed behavior. This gives managerial skills, which do not traditionally have a significant place in mainstream economic theory, a key role. It also highlights the need for organizations that have a motivational culture and appreciate human capital. This differs from the traditional view of the firm as a production function dictated by technology. Brower argues that organizations should be depicted as voluntary associations of people that pursue goals of their own, while firms compete on markets, where relative performance determines their fate. This argument builds on older theories of innovation and market competition that live on in business school curricula, and paints a picture of an economy directed by individuals and firms. This signals a bold departure from standard economic thinking.
In Not According to Plan, Maria Belodubrovskaya reveals the limits on the power of even the most repressive totalitarian regimes to create and control propaganda. Belodubrovskaya's revisionist account of Soviet filmmaking between 1930 and 1953 highlights the extent to which the Soviet film industry remained stubbornly artisanal in its methods, especially in contrast to the more industrial approach of the Hollywood studio system. Not According to Plan shows that even though Josef Stalin recognized cinema as a "mighty instrument of mass agitation and propaganda" and strove to harness the Soviet film industry to serve the state, directors such as Eisenstein, Alexandrov, and Pudovkin had far more creative control than did party-appointed executives and censors.
Crossroad of Arts, Crossroad of Cultures is the first book-length study of the aesthetic similarities between the French Parnassians, a 19th-century group of poets led by Théophile Gautier, and the Russian Acmeist poets, including Osip Mandelstam and Anna Akhmatova, who were active in the second decade of the 20th century. The Acmeists shared with the Parnassians a classical sensibility, an aspiration to state-of-the-art verbal craftsmanship, and a keen interest in the three-dimensional, physical world. Their love of plastic beauty as embodied in painting, sculpture, and architecture found natural release in verse about works of art. The book shows how Acmeist texts document aspects of Russian Modernist culture while continuing the Parnassian tradition of poetry inspired by visual art.
The book considers Australian First Nations constitutionalism by drawing on the chthonic constitutional traditions of three distinct Australian First Nations legal orders: the Warlpiri, Yolngu, and Pintupi legal orders, in the endeavour of identifying, via a comparative analysis, a core of similarities to be drawn upon and articulate an emergent legal theory common to the three legal orders. The comparative analysis is undertaken at the most foundational levels of their legal traditions, via the prism of a legal paradigm elaborated with reference to an Australian Indigenous cosmological, ontological, and epistemological standpoint. The proposed legal theory comprises a broad overview, general concepts, normative principles, and general working principles. In so doing, the book expounds how Australian First Nations constitutionalism unfolds into holistic orders of spiritual, political, and legal authority that are explainable in terms of legal theory. At the most foundational level, such elaboration may help delineate normative and legal constitutional patterns throughout Indigenous Australia.
From The Hobbit to Harry Potter, how fantasy harnesses the cultural power of magic, medievalism, and childhood to re-enchant the modern world Why are so many people drawn to fantasy set in medieval, British-looking lands? This question has immediate significance for millions around the world: from fans of Lord of the Rings, Narnia, Harry Potter, and Game of Thrones to those who avoid fantasy because of the racist, sexist, and escapist tendencies they have found there. Drawing on the history and power of children’s fantasy literature, Re-Enchanted argues that magic, medievalism, and childhood hold the paradoxical ability to re-enchant modern life. Focusing on works by authors such as J. R. R. Tolkien, C. S. Lewis, Susan Cooper, Philip Pullman, J. K. Rowling, and Nnedi Okorafor, Re-Enchanted uncovers a new genealogy for medievalist fantasy—one that reveals the genre to be as important to the history of English studies and literary modernism as it is to shaping beliefs across geographies and generations. Maria Sachiko Cecire follows children’s fantasy as it transforms over the twentieth and twenty-first centuries—including the rise of diverse counternarratives and fantasy’s move into “high-brow” literary fiction. Grounded in a combination of archival scholarship and literary and cultural analysis, Re-Enchanted argues that medievalist fantasy has become a psychologized landscape for contemporary explorations of what it means to grow up, live well, and belong. The influential “Oxford School” of children’s fantasy connects to key issues throughout this book, from the legacies of empire and racial exclusion in children’s literature to what Christmas magic tells us about the roles of childhood and enchantment in Anglo-American culture. Re-Enchanted engages with critical debates around what constitutes high and low culture during moments of crisis in the humanities, political and affective uses of childhood and the mythological past, the anxieties of modernity, and the social impact of racially charged origin stories.
This book analyses elements of international finance, comparing the regulation of hedge funds in United States, Europe, the UK, and off-shore jurisdictions in the aftermath of the financial crisis. It critically compares the Dodd- Frank Act in US with the Alternative Investment Funds Managers Directive in Europe. Moreover, it goes further by analyzing the implementation of the AIFM Directive in seven jurisdictions in Europe famous for the incorporation of hedge funds: the United Kingdom, Italy, France, Ireland, Malta, Luxembourg, and Switzerland. The book also analyses the effect of Brexit on the legislation in the UK regarding the application of the directive and the distribution of financial products in Continental Europe, and will be of particular interest to researchers, academics, and students of international finance and financial regulation.
Muslim Women of the Fergana Valley is the first English translation of an important 19th-century Russian text describing everyday life in Uzbek communities. Vladimir and Maria Nalivkin were Russians who settled in a "Sart" village in 1878, in a territory newly conquered by the Russian Empire. During their six years in Nanay, Maria Nalivkina learned the local language, befriended her neighbors, and wrote observations about their lives from birth to death. Together, Maria and Vladimir published this account, which met with great acclaim from Russia's Imperial Geographic Society and among Orientalists internationally. While they recognized that Islam shaped social attitudes, the Nalivkins never relied on common stereotypes about the "plight" of Muslim women. The Fergana Valley women of their ethnographic portrait emerge as lively, hard-working, clever, and able to navigate the cultural challenges of early Russian colonialism. Rich with social and cultural detail of a sort not available in other kinds of historical sources, this work offers rare insight into life in rural Central Asia and serves as an instructive example of the genre of ethnographic writing that was emerging at the time. Annotations by the translators and an editor's introduction by Marianne Kamp help contemporary readers understand the Nalivkins' work in context.
Seven of the eight short stories in this collection were originally published in Collier's magazine. The eighth story, Dreamt Last Night, was published in Redbook magazine.
Scaling the Balkans puts in conversation several fields that have been traditionally treated as discrete: Balkan studies, Ottoman studies, East European studies, and Habsburg and Russian studies. By looking at the complex interrelationship between countries and regions, demonstrating how different perspectives and different methodological approaches inflect interpretations and conclusions, it insists on the heuristic value of scales. The volume is a collection of published and unpublished essays, dealing with issues of modernism, backwardness, historical legacy, balkanism, post-colonialism and orientalism, nationalism, identity and alterity, society-and nation-building, historical demography and social structure, socialism and communism in memory, and historiography.
“Bordihn renders vivid descriptions of the medieval era in this engrossing account of a legendary ruler both revered and reviled.” —Publishers Weekly The Falcon of Palermo opens with the nations of modern Europe just beginning to take shape, while the papacy clings to its temporal power. Into this era of shifting borders and alliances steps a leader who will become legendary—the brilliant maverick, Frederick II. After losing his parents, Emperor Henry Hohenstaufen and Queen Constance, by age four, a young, neglected Frederick runs among the urchins in the Muslim quarter while German warlords overrun Sicily. To restore order the Pope sends Archbishop Berard, a warmhearted man who gradually develops a deep bond with the gifted boy. Fluent in Arabic and strongly influenced by Muslim culture, Frederick aims to return Sicily to her former glory. However, when elected Holy Roman Emperor in a surprise move by the German princes, his vision grows. Once established as the unchallenged ruler, Frederick works to create an empire equal to that of Rome. Marked by his struggle with the Papacy for the domination of Europe, his glorious feats in battle, his recapturing of the Holy Land, his falconry, and the passions that led him to wives, mistresses, and one enduring love, Frederick’s life is a fascinating glimpse into a pivotal period in medieval history. “This fascinating fictional account of Holy Roman Emperor Frederick II is realistically detailed with all the pomp, pageantry, poverty, and pestilence of the Middle Ages.” —Booklist
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