凱瑟琳·奧蘭絲汀,哈佛大學畢業,哥倫比亞大學國際關係學碩士,現為自由作傢,專門撰寫有關女性問題,拉西美洲和海地的文章,《百變小紅帽》的構思源於她的畢業論文。
其作品常見於美國《華盛頓郵報》、《紐約時報》、《仕女雜誌》、《舊金山偵查者周日雜誌》和其他刊物。目前定居紐約。
Choosing one of the few fairy tales that does not conclude with a wedding, Catherine Orenstein reinterprets the many versions of "Little Red Riding Hood" by setting the tale against the mores and values of its times. The result is a highly entertaining and interesting conversation about one of our best-known stories.
Starting with the first-known published version, Orenstein points out Charles Perrault's lesson to young girls entering the lascivious and political court of Louis XIV. She traces the story further back to a shockingly playful rendition that includes bzous (werewolves) and cannibalism. In this version, she revives the symbolism that relates to the feminine by pointing out the odd questions of the bzou: "Which path are you taking... the path of needles or the path of pins?" Orenstein also takes a look at more modern versions, including Anne Sexton's poem "Red Riding Hood" and Matthew Bright's film Freeway, taking on, as she examines these and other modern versions of the old tale, the machismo wolf and the Gen-X grrrl.
Though expansive in her research, Orenstein's interpretations are occasionally too simplistic. In "Grandmother's Tale," Riding Hood's cannibalistic meal of her grandmother is reduced to a "symbolic reminder that the old will be reborn in the young." There is nothing mentioned of the talking cat who decries Riding Hood, saying, "She is a slut who eats the flesh and drinks the blood of her granny!" But what Orenstein lacks in depth, she more than makes up for in her encompassing study. In all, 10 tales are examined, as well as a vast historical study of the times they were published. Written with lively prose, Orenstein has produced a book that will spark thought and conversation, encouraging readers to find the wolf, the grandmother, and the little girl within. --Karin Rosman --This text refers to an out of print or unavailable edition of this title.
男孩和女孩在出生的那一刹那就开始被父母区别对待.男孩是放养,女孩则是圈养.那种头上系着蝴蝶结,身上穿着粉红色连衣裙,旁边有娘亲抱着童话书给讲故事的场景一般只会出现在小女孩的闺房中.至少在我看来是这样.在我的记忆中,从来没有过如此这般温馨的场景,虽然我五岁之前的记忆基...
評分小红帽是我的初恋,我总觉得要是娶了小红帽,就会知道什么叫做天赐良缘。——查尔斯·狄更斯 与曾经用自己的小说威震世界的狄更斯不同,《小红帽》是润物细无声和潜移默化的,她是我们的童年世界的一个坐标。 小红帽的故事,并非采集于民间。法国人佩罗创作了她(1697年)。影...
評分很久很久以前,有一个甜美的女孩,经常穿着母亲为她做的红色连帽披肩,大家都叫她小红帽。有一天,她带着一些糕饼去看望外婆。在经过森林的时候,遇见一条野狼。从此,小红帽遭遇了各种不同的命运: 口传民间故事版(《外婆的故事》):狼人在她抵达之前已经杀了外婆,将一些...
評分男孩和女孩在出生的那一刹那就开始被父母区别对待.男孩是放养,女孩则是圈养.那种头上系着蝴蝶结,身上穿着粉红色连衣裙,旁边有娘亲抱着童话书给讲故事的场景一般只会出现在小女孩的闺房中.至少在我看来是这样.在我的记忆中,从来没有过如此这般温馨的场景,虽然我五岁之前的记忆基...
評分以前上新闻课的时候,老师说,其实,所谓公正之媒体,何尝不是在为当权者服务呢,区别只在于,在不同的国家,当权者的意义略有不同而已。 现在看这本书,才明白到,所谓童话,不外如是。在封建蒙昧的年代里,它告诉小女孩要乖,要听妈妈的话,任劳任怨,刻苦干活才能觅得好归...
The one and only essence of her is eternal fluidity.
评分The one and only essence of her is eternal fluidity.
评分The one and only essence of her is eternal fluidity.
评分The one and only essence of her is eternal fluidity.
评分The one and only essence of her is eternal fluidity.
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