The Classic Fairy Tales (Second Edition) (Norton Critical Editions)
Page 77
Schectman, Jacqueline. The Stepmother in Fairy Tales: Bereavement and the Feminine Shadow. Boston: Sigo, 1991.
Scherf, Walter. “Family Conflicts and Emancipation in Fairy Tales.” Children’s Literature, 3 (1974): 77–93.
Schickel, Richard. The Disney Version: The Life, Times, Art and Commerce of Walt Disney. New York: Simon & Schuster, 1968.
Schmiesing, Ann. Disability, Deformity, and Disease in the Grimms’ Fairy Tales. Detroit: Wayne State UP, 2014.
Schwartz, Emanuel K. “A Psychoanalytic Study of the Fairy Tale.” American Journal of Psychotherapy 10 (1956): 740–62.
Seifert, Lewis Carl. Fairy Tales, Sexuality, and Gender in France, 1690–1715: Nostalgic Utopias. New York: Cambridge UP, 1996.
Sendak, Maurice. “Hans Christian Andersen.” In Caldecott & Co.: Notes on Books and Pictures. New York: Farrar, Straus & Giroux, Michael di Capua, 1988.
Shavit, Zohar. “The Concept of Childhood and Children’s Folktales: Test Case—‘Little Red Riding Hood.’ ” Jerusalem Studies in Jewish Folklore 4 (1983): 93–124.
Sheets, Robin Ann. “Pornography, Fairy Tales, and Feminism: Angela Carter’s ‘The Bloody Chamber.’ ” Journal of the History of Sexuality 1 (1991): 633–57.
Snider, Clifton. “Eros and Logos in Some Fairy Tales by Oscar Wilde: A Jungian Interpretation.” Victorian Newsletter 84 (1993): 1–8.
Soriano, Marc. “Le petit chaperon rouge.” Nouvelle Revue Française 16 (1968): 429–43.
Stone, Kay F. Burning Brightly: New Light on Old Tales Today. Peterborough, ON: Broadview, 1998.
______. “The Misuses of Enchantment: Controversies on the Significance of Fairy Tales.” In Women’s Folklore, Women’s Culture. Ed. Rosan A. Jordan and Susan J. Kalcik. Philadelphia: U of Pennsylvania P, 1985.
______. “Things Walt Disney Never Told Us.” Journal of American Folklore 88 (1975): 42–49.
Sullivan, Paula. “Fairy Tale Elements in Jane Eyre.” Journal of Popular Culture 12 (1978): 61–74.
Swahn, Jan-Öjvind. The Tale of Cupid and Psyche (Aarne-Thompson 425 and 428). Lund, Sweden: Gleerup, 1955.
• Tatar, Maria, ed. The Cambridge Companion to Fairy Tales. Cambridge: Cambridge UP, 2015.
• ______. The Hard Facts of the Grimms’ Fairy Tales. Princeton, NJ: Princeton UP, 1987.
______. Off with Their Heads! Fairy Tales and the Culture of Childhood. Princeton, NJ: Princeton UP, 1992.
______. Secrets beyond the Door: The Story of Bluebeard and His Wives. Princeton, NJ: Princeton UP, 2006.
Teverson, Andrew. Fairy Tale. London: Routledge, 2013.
Thomas, Joyce. Inside the Wolf’s Belly: Aspects of the Fairy Tale. Sheffield, UK: Sheffield Academic, 1989.
Thompson, Stith. The Folktale. New York: Holt, Rinehart and Winston, 1946.
______. Motif-Index of Folk-Literature. 6 vols., rev. and enlarged ed. Bloomington: Indiana UP, 1955–58.
• Tiffin, Jessica. Marvelous Geometry: Genre and Metafiction in Modern Fairy Tale. Detroit: Wayne State UP, 2009.
Tolkien, J. R. R. “On Fairy-Stories.” In The Tolkien Reader. New York: Ballantine, 1966.
Travers, P. L. About the Sleeping Beauty. London: Collins, 1977.
______. “The Black Sheep.” In What the Bee Knows: Reflections on Myth, Symbol, and Story. Wellingborough, UK: Aquarian, 1989.
Turner, Kay, and Pauline Greenhill, eds. Transgressive Tales: Queering the Grimms. Detroit: Wayne State UP, 2012.
• Uther, Hans-Jörg. The Types of International Folktales: A Classification and Bibliography. 3 vols. Helsinki: Academia Scientiarum Fennica, 2004.
Vaz da Silva, Francisco. Metamorphosis: The Dynamics of Symbolism in European Fairy Tales. New York: Lang, 2002.
Verdier, Yvonne. “Grands-mères, si vous saviez,… le Petit Chaperon Rouge dans la tradition orale.” Cahiers de Littérature Orale 4 (1978): 17–55.
Waelti-Walters, Jennifer. Fairy Tales and the Female Imagination. Montreal: Eden, 1982.
• Waley, Arthur. “The Chinese Cinderella Story.” Folk-Lore 58 (1947): 226–38.
Walker, Mary. “Wilde’s Fairy Tales.” Unisa English Studies: Journal of the Department of English 14 (1976): 30–41.
• Warner, Marina. From the Beast to the Blonde: On Fairy Tales and Their Tellers. New York: Farrar, Straus & Giroux, 1994.
______. Once Upon a Time: A Short History of Fairy Tale. Oxford: Oxford UP, 2014.
Weber, Eugen. “Fairies and Hard Facts: The Reality of Folktales.” Journal of the History of Ideas 42 (1981): 93–113.
Weigle, Marta. Spiders and Spinsters. Albuquerque: U of New Mexico P, 1982.
Wilson, Sharon R. “Bluebeard’s Forbidden Room: Gender Images in Margaret Atwood’s Visual and Literary Art.” American Review of Canadian Studies 16 (1986): 385–97.
______. Margaret Atwood’s Fairy-Tale Sexual Politics. Jackson: UP of Mississippi, 1993.
Yolen, Jane. “America’s Cinderella.” Children’s Literature in Education 8 (1977): 21–29.
______. Touch Magic: Fantasy, Faerie and Folklore in the Literature of Childhood. New York: Philomel, 1981.
Zipes, Jack. Breaking the Magic Spell: Radical Theories of Folk and Fairy Tales. Austin: U of Texas P, 1979.
______. The Brothers Grimm: From Enchanted Forests to the Modern World. New York: Routledge, Chapman & Hall, 1988.
______. Fairy Tales and the Art of Subversion: The Classical Genre for Children and the Process of Civilization. New York: Wildman, 1983.
• ______. Happily Ever After: Fairy Tales, Children, and the Culture Industry. New York: Routledge, 1997.
______. The Irresistible Fairy Tale: The Cultural and Social History of a Genre. Princeton, NJ: Princeton UP, 2012.
______, ed. The Trials and Tribulations of Little Red Riding Hood. 2nd ed. New York: Routledge, 1993.
______, Pauline Greenhill, and Kendra Magnus-Johnston, eds. Fairy-Tale Films Beyond Disney: International Perspectives. New York: Routledge, 2015.
W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton first published lectures delivered at the People’s Institute, the adult education division of New York City’s Cooper Union. The firm soon expanded their program beyond the Institute, publishing books by celebrated academics from America and abroad. By midcentury, the two major pillars of Norton’s publishing program—trade books and college texts—were firmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today—with a staff of four hundred and a comparable number of trade, college, and professional titles published each year—W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees.
Copyright © 2017, 1999 by W. W. Norton & Company, Inc.
Original translations copyright © 2017, 1999 by Maria Tatar
All rights reserved
ISBN: 978-0-393-60297-5 (pbk.)
ISBN: 978-0-393-28978-7 (e-Book)
W. W. Norton & Company, Inc., 500 Fifth Avenue, New York, N.Y. 10110
wwnorton.com
W. W. Norton & Company Ltd., 15 Carlisle Street, London W1D 3BS
NORTON CRITICAL EDITIONS
VICTORIAN ERA
BARRETT BROWNING, AURORA LEIGH
BRONTË, JANE EYRE
BRONTË, WUTHERING HEIGHTS
BROWNING, ROBERT BROWNING’S POETRY
CARROLL, ALICE IN WONDERLAND
THE CLASSIC FAIRY TALES
DARWIN, DARWIN
DICKENS, BLEAK HOUSE
DICKENS, DAVID COPPERFIELD
DICKENS, GREAT EXPECTATIONS
DICKENS, HARD TIMES
DICKENS, OLIVER TWIST
ELIOT, MIDDLEMARCH
ELIOT, THE MILL ON THE FLOSS
GASKELL, MARY BARTON
GASKELL, NORTH AND SOUTH
HARDY, FAR FROM THE MADDING CROWD
HARDY, JUDE THE OBSCURE
HARDY, THE MAYOR OF CASTERBRIDGE
HARDY, T
HE RETURN OF THE NATIVE
HARDY, TESS OF THE D’URBERVILLES
KIPLING, KIM
MEREDITH, THE EGOIST
MILL, THE SPIRIT OF THE AGE, ON LIBERTY, THE SUBJECTION OF WOMEN
NEWMAN, APOLOGIA PRO VITA SUA
STEVENSON, STRANGE CASE OF DR. JEKYLL AND MR. HYDE
STOKER, DRACULA
TENNYSON, IN MEMORIAM
TENNYSON, TENNYSON’S POETRY
THACKERAY, VANITY FAIR
WELLS, THE TIME MACHINE
WILDE, THE IMPORTANCE OF BEING EARNEST
WILDE, THE PICTURE OF DORIAN GRAY
For a complete list of Norton Critical Editions, visit
wwnorton.com/nortoncriticals