A First Book of Fairy Tales

Product Information

From classic fairy tales from authors such as The Brothers Grimm and Hans Christian Anderson to new and original fairy tale books, you can introduce gentle versions of the stories to young children in kid-friendly versions for all ages. And, when they’re ready, you might read the original stories — which, if they’re Brother’s Grimm, are often more distressing and not meant for young children. As the word “féerie” indicates, this genre was based upon fairy tales and other fantastic objects. These plays staged material drawn from familiar stories such as French fairy tales written by Charles Perrault and Catherine d’Aulnoy. However, the féerie emphasized neither the temporal continuity of narrative nor the depictions of moralistic intent, but rather an emphasis on spectacle. According to Théophile Gautier, a well-known commentator on French theater, féeries presented rapidly changing onstage wonders which invite spectators into a shared environment filled with fantastic transformations. The reception of fairy tales in the féerie is a dazzling vision and an incoherent collection of brilliant spectacles, which had become a central visual trope of popular entertainment. Marvelous stage effects and transformations largely displaced the narratives of féeries. Moen (2013) highlights the importance of how fairy tales in féeries resonated with modernity. The féerie departed from the narrative basis of fairy tales by employing new lighting and stage machinery technologies to transform, shaping modern fantasy with a dazzling visual form of instability, “ephemeral and mutable, technological and enchanting” ( Moen, 2013). It’s a very interesting reflection on the inability of systems to crush human emotion, which, I think, literature expresses. So one of the important things about making up stories and writing things down is that you create a record of all the possible human expressions and emotions and you understand their calibrations and subtleties and their complexities. I wouldn’t know half of what I know if I didn’t read about it – I’m not that good at noticing myself. I need other people to notice for me. Fiction can do that. It’s an amazing seismograph. When I first started reading the Brontës or George Eliot, for instance, I learnt so much about how people interact. a b c d e f g Stephens, James (1920). Irish Fairy Tales. London, MacMillan & Company. Retrieved from Project Gutenberg 5 November 2017. a b c d e f g h i Colum, Padraic (1918), The Boy Who Knew How to Speak to Birds., New York: The MacMillan Company. Retrieved 24 November 2017.

Five Books interviews are expensive to produce. If you're enjoying this interview, please support us by donating a small amount. a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah Scott, Michael (1989). Irish Folk and Fairy Tales Omnibus. London: Sphere Books (Penguin Books in U.S.). ISBN 0-7515-0886-1; ISBN 978-0-7515-0886-4. Retrieved 27 November 2017. a b c d e f g h i j k l m n o p q r s t u v w x Curtin, Jeremiah (1894). Hero-Tales of Ireland. London: MacMillan and Company. Retrieved 8 November 2017.

Croker, Thomas Crofton (1825). Fairy Legends and Traditions of the South of Ireland. London: J. Muray. The Wise Woman (Full Story)". Mr. Renaissance. Archived from the original on 29 December 2010 . Retrieved 26 September 2010. Zipes, J. (2011). The Meaning of Fairy Tale within the Evolution of Culture. Marvels & Tales: Journal of Fairy-Tale Studies, 25, 221-243.

Where Zipes argues that individual subversion is essential, you argue that it’s about the tales ability to cohere and say something as a group. Even within an individual collector’s career span mutations occurred, didn’t they? The Grimms’ tales became increasingly sanitized through subsequent editions. a b c d e f g h i j k Frost, William Henry (1900). Fairies and Folk of Ireland. New York: Charles Scribner's Sons. Retrieved 6 November 2017. OK, let’s move on to your books, proceeding along a chronological breadcrumb trail. First up, tell us about the Arabian Nights. Bettelheim, B. (1989). The Uses of Enchantment: The Meaning and Importance of Fairy Tales. Vintage.Landow, G. P. (1992). Hypertext: The Convergence of Contemporary Critical Theory and Technology. Johns Hopkins University Press. Nights 738–756 The Story of Jullanar of the Sea". Stories from the Thousand and One Nights. Bartleby. 1914 . Retrieved 26 September 2010. Cahill, S. (2010). Through the Looking Glass: Fairy-Tale Cinema and the Spectacle of Femininity in Stardust and the Brothers Grimm. Marvels & Tales: Journal of Fairy-Tale Studies, 24, 57-67.

Fairy tales have variability, a route to flexibility and robustness, dealing with shifting circumstances. Adaptation to new aesthetic and cultural contexts is at the heart of survival for the fairy tale. Yet, the meaning of the fairy tale is also a reader’s process of discovery. In the words of Marina Warner, “the meanings they generate are themselves magical shape-shifters, dancing to the needs of their audience.” The times change, and the story changes accordingly. By attending to the reception of fairy tales, this study reveals a great understanding of how fairy tales generate meaning and function in contemporary society. It’s not only creators, scholars but also actual recipients who can equally illuminate the story’s meaning. Their responses reflect how fairy tales become meaningful in their reception. Absolutely. We have this shiny and horrible sort of brave new world, with mathematicians having found this code – “the equation of a person” – that runs everything perfectly. But of course it doesn’t run everything perfectly and passion breaks though. a b c d e f g h i j k McAnally, David Russell (1888). Irish Wonders: The Ghosts, Giants, Pookas, Demons, Leprechawns, Banshees, Fairies, Witches, Widows, Old Maids, and Other Marvels of the Emerald Isle. Boston: Houghton, Mifflin, & Company. Retrieved 20 November 2017. Warner, M. (1996). From the Beast to the Blonde: On Fairy Tales and Their Tellers. Farrar, Straus and Giroux.

How to Vote

No Lie, Pigs (And Their Houses) Can Fly! The Story of the Three Little Pigs as Told by the Wolf by Jessica Gunderson, illustrated by Cristian Bernardini One of the BESTbooks,not just graphic novels, EVER! This Rapunzel uses her long braids to lasso the bad guys in the wild west. a b c d e f g h i j k l m n o p q Anonymous (1860). The Royal Hibernian Tales; Being 4 Collections of the Most Entertaining Stories Now Extant. Dublin: C.M. Warren. Presumably the nature of the teller changed as the form shifted from the feminine art of oral storytelling to a more historically male work of venturing, collecting, cataloguing and editing. The theatrical genre of the féerie was born shortly after the French Revolution ( Kovács, 1976), which was known for its dazzling scenes and marvelous stage effects. In nineteenth-century popular culture, the féerie provided “a multifaceted entertainment of dance, comedy, and action while exploiting new technologies and extravagant stagecraft” ( Moen, 2013) for a mass audience.