Fairy Tales

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(Herausg.): Red Riding Hood and the Wolf in Bed: Modernisms Fairy Tales, University of Toronto Pre, ISBN: 9780802090867
leichte Lagerspuren Kurzbeschreibung\nFrom children's books to Christmas pantomimes, and from scholarly anthologies to movies, the many and various adaptations of fairy tales in the late-nineteenth and early twentieth centuries speak to the genre's widespread popularity. Narratives whose presence and appeal can be traced through every aspect of modern British and North American culture, fairy tales invite a range of interpretations and applications, as multiple versions of 'Cinderella,' 'Sleeping Beauty,' and 'Little Red Riding Hood' enable multiple and potentially subversive uses of their plots and motifs by writers and readers alike. By exploring representations of fairy tales in the works of James Joyce, Virginia Woolf, and Djuna Barnes, Ann Martin's Red Riding Hood and the Wolf in Bed asserts the significance of the stories as a system of reference for these and other modernists. Allusions to fairy tales in works such as Ulysses, Orlando, and Nightwood signify not only an intersection of popular culture and high modernism, but also an interaction between modern subjects and their social and economic contexts. Drawing on theoretical paradigms from gender and cultural studies, Martin develops a participatory model of modernist literature and culture. The tactical engagements with social normatives that are found in fairy tales and in the modernist texts echo the authors' own challenges to formal and discursive boundaries through intertextuality, just as the readers of the fairy tale allusions become actively engaged in making sense of modernism. \n\nSynopsis\nFrom children's books to Christmas pantomimes, and from scholarly anthologies to movies, the many and various adaptations of fairy tales in the late-nineteenth and early twentieth centuries speak to the genre's widespread popularity. Narratives whose presence and appeal can be traced through every aspect of modern British and North American culture, fairy tales invite a range of interpretations and applications, as multiple versions of Cinderella, Sleeping Beauty, and Little Red Riding Hood enable multiple and potentially subversive uses of their plots and motifs by writers and readers alike. By exploring representations of fairy tales in the works of James Joyce, Virginia Woolf, and Djuna Barnes, Ann Martin's Red Riding Hood and the Wolf in Bed asserts the significance of the stories as a system of reference for these and other modernists. Allusions to fairy tales in works such as Ulysses, Orlando, and Nightwood signify not only an intersection of popular culture and high modernism, but also an interaction between modern subjects and their social and economic contexts.Drawing on theoretical paradigms from gender and cultural studies, Martin develops a participatory model of modernist literature and culture. The tactical engagements with social normatives that are found in fairy tales and in the modernist texts echo the authors' own challenges to formal and discursive boundaries through intertextuality, just as the readers of the fairy tale allusions become actively engaged in making sense of modernism. , ISBN: 0802090869

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[AULNOY, Marie Catherine le Jumel de Barneville, comtesse d']. Les contes des fees.- Nouveaux contes des fees. Par madame D***. Auteur des memoires et voyage d'Espagne. Amsterdam, for Estienne Roger, 1717-1719.
Very rare Amsterdam edition of the popular fairy tales by Madame D'Aulnoy or Aunoy, born about 1650 and died at Paris in 1705. The first volume contains 16 "Contes" in two parts, with a stock list of the publisher in between (3 pp.). The second volume contains the Nouveaux Contes, nine in all, preceeded by an introductory title-story. The frontispiece to the Contes is a variant of the frontispiece to Chevalier de Mailly's Contes Galans, published by the same publisher. The frontispiece to the Nouveaux Contes shows a female author in classical attire writing fairy tales.Aulnoy, Marie Catherine Le Jumel de Barneville, comtesse d'Aulnoy is the most famous French writer of fairy tales after Perrault. She has had a significant influence on the development of the genre in France and other countries (especially Germany). After a turbulent marriage with Francois de la Motte, baron d'Aulnoy, who was more than 30 years her elder, ending in a plot to accuse M. d'Aulnoy of 'lese majeste', a capital offence, and a short imprisonment with her new born third daughter (the first two had died in infancy), she travelled after 1670 to Flanders, England, and Spain. However, by 1690, she had returned to Paris, had established numerous contacts at court, and began a prolific writing career, with the publication of Histoire d'Hypolite, comte de Duglas (Story of Hypolitus, Count of Douglas), which included the first published literary fairy tale in French (which later anthologies called 'L'Ile de la felicite' ('The Island of Happiness')). In 1691, d'Aulnoy published her lively travel narrative Relation du voyage d'Espagne (Travels in Spain). In the ensuing years she published with great success novels, short stories, devotional works, and collections of historical memoirs. But she is best known for the present two collections of fairy tales, originally published in 1697 and 1698: Les Contes des fees, with 15 tales, and Contes nouveaux, which contains nine more tales, including two frame narratives (Dom Gabriel Ponce de Leon and Dom Fernand de Tolede) and a frame story entitled Le Gentilhomme bourgeois (The Bourgeois Gentleman; not present in our copy). By the time of her death a few years later (1705), d'Aulnoy's name had become synonymous with an expression she was the first to use: 'conte de fees'.D'Aulnoy's fairy tales owe much to the novels of her day. Unlike Perrault (whose prose tales were published only a few months before the first instalment of Les Contes des fees), d'Aulnoy regularly incorporates motifs, characters, and devices that are typical of the pastoral and heroic romances popular in the first part of the century. Hence, her protagonists are always involved in a love story, and the narration examines their emotions at great length. Indeed, this 'sentimental realism' makes d'Aulnoy's fairy tales a significant (but generally unacknowledged) transitional moment in the evolution of the 17th- and 18th-century French novel. D'Aulnoy rewrote 15 different oral tale types, ranging from 'L'Oranger et l'abeille' ('The Orange tree and the Bee') to 'Le Mouton' ('The Ram'). She seems to have been particularly fascinated by the animal spouse cycles (the most famous examples of which are Apuleius' 'Cupid and Psyche' and Mme Leprince de Beaumont's 'Beauty and the Beast'), for she wrote four animal groom tales ('Gracieuse et Percinet', 'Le Mouton', 'L'Oiseau bleu' ('The Blue Bird'), 'Serpentin vert' ('The Green Serpent').Perhaps most significant are the multiple ways d'Aulnoy's contes de fees meld literary and folkloric traditions. Not unlike Perrault, she often employs humorous names, expressions, devices, and situations that create an ironic distance from popular oral narratives and their (reductive) association with children. This is the case of the versed morals she almost always places at the end of her tales: the moralites recall the formulaic endings of both the oral storyteller and the illustrious fabulist La Fontaine while often questioning the obvious 'point' of the story. D'Aulnoy is also famous for her profuse imagination, and she repeatedly incorporates rich descriptions that fuse supernatural beings or traits with historical and literary allusions from her day. The popularity that met d'Aulnoy's fairy tales immediately upon publication continued well into the 18th century, during which her works were often republished and many of her tales found their way into the Bibliotheque bleue. In the past 20 years, serious scholarly attention to d'Aulnoy has finally begun to gain momentum, and critics have increasingly recognized her important place in the history of French literature and the fairy tale.The present two volumes are two parts of an ambitious project realized by the Amsterdam publisher Estienne Roger, entitled 'Le cabinet des fees: contenant tous leurs ouvrages en huit volumes'.Volume 1 contains: the title, a dedication (pp. 3-4), and the fairy tales 'Gracieuse et Percinet' (pp. 5-48); La belle aux cheveux d'or' (pp. 49-74); L'oiseau bleu' (pp. 75-141); Le prince Lutin' (pp. 142-210); 'La princesse Printaniere' (pp. 211-81); 'Le rameau dor' (pp. 282-343); 'L'oranger et l'abeille' (pp. 344-97); 'La bonne petite souris' (pp. 398-423); (3 pp. with stock list of Estienne Roger); 'Le lalais de la vengeance' (pp. 1-28); 'Le prince des feuilles' (pp. 29-68); 'Le bonheur des Moineaux'' (pp. 68-70); 'L'heureuse peine' (pp. 71-105); 'Les avantures de Finette' (pp. 106-50); 'Sanr Paragon' (pp. 151-222; and 'La reine des fees' (pp. 223-71). Volume 2, the Nouveaux contes: the title-story (pp. 1-6); 'Don Gabriel Ponce de Leon' (pp. 7-49); 'Le mouton' (pp. 50-107); 'Finette Cendron' (pp. 108-178); 'Fortunee' (pp. 179-236); 'Babiolle' (pp. 237-87); 'Don Ferdinand de Tolede' (pp. 288-301, and pp. 343-64); 'Le nain jaune' (pp. 302-42); 'Serpentine vert' (pp. 365-440). The last vol. is also vol. 4 in the above mentioned series, the fairy tale 'Le nouveau gentilhomme bourgeois' being the 5th.
Good copies.- (Front cover of second volume lost; some sl. waterstaining in second volume).
The present edition not in Cohen-De Ricci, or Cioranescu; cf. Gumuchian 409 ff. (lists no ed. prior to 1760); Boekenoogen L 18393 (ed. at The Hague of 1698 of the first 2 parts of the "Contes"); Cohen-De Ricci 107 (undated ed. by our publisher in 8 parts); in general: Anne Defrance, 'Ecriture feminine et denegation de l'autorite: les Contes de fees de Madame d'Aulnoy et leur recit. cadre', in: Revue des sciences humaines, 238 (1995); Amy deGraff, The Tower and the Well: A Psychological Interpretation of the Fairy Tales of Madame d'Aulnoy (1984); and Jane Tucker Mitchell, A Thematic Analysis of Madame d'Aulnoy's Contes de fees (1978).

4 parts in 2 vols. 12mo. Contemporary calf, gilt spines. With 2 engraved frontispieces, 16 half-page engravings in text in the first and 10 in the second vol. heading the 25 fairy tales and the preface in vol. 2. 423, (3), 271; (2), 440 pp.

[SW: Fairy Tales; Children's Books; French]

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PERRAULT, (CH.). Les contes, precede d'une preface par J.T. de Saint-Germain. Paris, Theod. Lefevre et Cie., (ca. 1855).
First edition of a very luxuriously produced French edition of Perrault's eight fairy tales in prose and two of his fairy tales in verse, the 'Peau d'Ane' and 'Les Souhaits Ridicules', to which the popular 'L'Adroite Princesse' is added. The book is preceded by a preface by J.T. de Saint-Germain, defending the educational value of fairy tales and discussing the author and the beauty of his tales, here presented in their original text including the morals in verse at the end of each fairy tale.
Fine copy, with the bookplate of L.D. Petit, signed by S.E. Beekman, Dec. 1922, and with the bookseller's label of W.J. Berends at Zwolle.- (Binding sl. rubbed; first lvs. sl. stained and loose; only some very sl. marginal foxing).
Gumuchian 4447: 'Edition recherchee et peu commune'.

Large 8vo. Richly gilt and black-stamped red cloth, g.e. Richly illustrated with steel-engraved frontispiece including the portrait of the author, 11 full-page steel-engraved plates, one for each fairy tale by Lefrancq after Desandre, and numerous wood-engraved illustrations in text, with all pages set within richly lithographed pastoral borders printed in various colours. XV, 198, (1) pp.

[SW: Fairy Tales; Children's Books; French]

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Yeats, W. B. The book of Fairy and folk Tales of Ireland, englischsprachig, slaney press, 1994 ISBN: 1851527052

406 Seiten, Hardcover Ausgabe Have you euer seen a fairy or such like? I asked the old man in County Sligo Amn, t I annoyed with them, was the answer. W B Yeats, introduction The Book of Fairy and Folk Tales of Ireland, compiled by W B Yeats from various sources, is bursting with tall tales of fairy folk and their ways. It was originally published in two volumes, Fairy and Folk Tales of the Irish Peasantry (1888) and Irish Fairy Tales (189) It draws together the work of the best Irish folklorists including Wilde and Douglas Hyde gepflegtes Exemplar, nur kleine Lesespuren, ***SEHR SCHÖN***

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