具体描述
In the 1970s, feminists focused critical attention on fairy tales and broke the spell that had enchanted readers for centuries. By exposing the role of fairy tales in the cultural struggle over gender, feminism transformed fairy-tale studies and sparked a debate that would change the way society thinks about fairy tales and the words "happily ever after." Now, after three decades of provocative criticism and controversy, this book reevaluates the feminist critique of fairy tales. The eleven essays within Fairy Tales and Feminism challenge and rethink conventional wisdom about the fairy-tale heroine and offer new insights into the tales produced by female writers and storytellers. Resisting a one-dimensional view of the woman-centered fairy tale, each essay reveals ambiguities in female-authored tales and the remarkable potential of classical tales to elicit unexpected responses from women. Exploring new texts and contexts, Fairy Tales and Feminism reaches out beyond the national and cultural boundaries that have limited our understanding of the fairy tale. The authors reconsider the fairy tale in French, German, and Anglo-American contexts and also engage Africa, Indian Ocean, Iberian, Latin American, Indo-Anglian, and South Asian diasporic texts. Also considered within this volume is how film, television, advertising, and the Internet test the fairy tale's boundaries and its traditional authority in defining gender. From the Middle Ages to the postmodern age--from the French fabliau to Hollywood's Ever After and television's Who Wants to Marry a Millionaire?--the essays assembled here cover a broad range of topics that map new territory for fairy-tale studies. Framed by a criticalsurvey of feminist fairy-tale scholarship and an extensive bibliography--the most comprehensive listing of women-centered fairy-tale research ever assembled--Fairy Tales and Feminism is a valuable resource for anyone interested in the intersection of fairy tales and feminism.
作者简介
Donald Haase is chair of the Department of German and Slavic Studies at Wayne State University.
目录信息
读后感
The written literary traditions have always been shaped and institutionalized by men. The representations of females in literature, as weak, domestic, stupid, hysteria and vain, are shaped by males. The gender roles women are expected to play, the morals an...
评分The written literary traditions have always been shaped and institutionalized by men. The representations of females in literature, as weak, domestic, stupid, hysteria and vain, are shaped by males. The gender roles women are expected to play, the morals an...
评分The written literary traditions have always been shaped and institutionalized by men. The representations of females in literature, as weak, domestic, stupid, hysteria and vain, are shaped by males. The gender roles women are expected to play, the morals an...
评分The written literary traditions have always been shaped and institutionalized by men. The representations of females in literature, as weak, domestic, stupid, hysteria and vain, are shaped by males. The gender roles women are expected to play, the morals an...
评分The written literary traditions have always been shaped and institutionalized by men. The representations of females in literature, as weak, domestic, stupid, hysteria and vain, are shaped by males. The gender roles women are expected to play, the morals an...
用户评价
这本书呢是女性主义second wave中的一个支流，主要是在fairy tales内探讨discourse，认为男性控制了写童话的话语权（流传的作品都是WASP之作），把女性塑造为weak，shallow和innocent的形象，随时等候王子骑士猎手的拯救。所以feminist想要通过rewrite童话来创造discourse feminine，发掘女性的力量和欲望。其中最出色是Angela carter，也是作品流传最广的，包括改写小红帽的黑童话werewolf，一反女性作为mother，virgin，或者prostitute的形象，用了许多色情和SM的元素，让女性来主导desire（世界不就变得更美好了木）。但可惜second wave渐渐fade，取而代之的第三波则是越来越无趣了
评分这本书呢是女性主义second wave中的一个支流，主要是在fairy tales内探讨discourse，认为男性控制了写童话的话语权（流传的作品都是WASP之作），把女性塑造为weak，shallow和innocent的形象，随时等候王子骑士猎手的拯救。所以feminist想要通过rewrite童话来创造discourse feminine，发掘女性的力量和欲望。其中最出色是Angela carter，也是作品流传最广的，包括改写小红帽的黑童话werewolf，一反女性作为mother，virgin，或者prostitute的形象，用了许多色情和SM的元素，让女性来主导desire（世界不就变得更美好了木）。但可惜second wave渐渐fade，取而代之的第三波则是越来越无趣了
评分这本书呢是女性主义second wave中的一个支流，主要是在fairy tales内探讨discourse，认为男性控制了写童话的话语权（流传的作品都是WASP之作），把女性塑造为weak，shallow和innocent的形象，随时等候王子骑士猎手的拯救。所以feminist想要通过rewrite童话来创造discourse feminine，发掘女性的力量和欲望。其中最出色是Angela carter，也是作品流传最广的，包括改写小红帽的黑童话werewolf，一反女性作为mother，virgin，或者prostitute的形象，用了许多色情和SM的元素，让女性来主导desire（世界不就变得更美好了木）。但可惜second wave渐渐fade，取而代之的第三波则是越来越无趣了
评分这本书呢是女性主义second wave中的一个支流，主要是在fairy tales内探讨discourse，认为男性控制了写童话的话语权（流传的作品都是WASP之作），把女性塑造为weak，shallow和innocent的形象，随时等候王子骑士猎手的拯救。所以feminist想要通过rewrite童话来创造discourse feminine，发掘女性的力量和欲望。其中最出色是Angela carter，也是作品流传最广的，包括改写小红帽的黑童话werewolf，一反女性作为mother，virgin，或者prostitute的形象，用了许多色情和SM的元素，让女性来主导desire（世界不就变得更美好了木）。但可惜second wave渐渐fade，取而代之的第三波则是越来越无趣了
评分这本书呢是女性主义second wave中的一个支流，主要是在fairy tales内探讨discourse，认为男性控制了写童话的话语权（流传的作品都是WASP之作），把女性塑造为weak，shallow和innocent的形象，随时等候王子骑士猎手的拯救。所以feminist想要通过rewrite童话来创造discourse feminine，发掘女性的力量和欲望。其中最出色是Angela carter，也是作品流传最广的，包括改写小红帽的黑童话werewolf，一反女性作为mother，virgin，或者prostitute的形象，用了许多色情和SM的元素，让女性来主导desire（世界不就变得更美好了木）。但可惜second wave渐渐fade，取而代之的第三波则是越来越无趣了
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