I think that’s part of what accounts for the tales’ tremendous popularity. Quite a lot of the plot structures expressed the new realities of the world in the early 18th century. One of them, which I really think is very important for our own times, is that money in the Arabian Nights is an omnipresent goal and desire. But money is fantasmic. Money comes and money vanishes; it comes out of a genie-inhabited bottle; it comes out of the ground. And it disappears with no explanation… This is interesting because we’re talking about a period when, for European readers, paper money was more or less invented – it’s the first time in modernity, since the Ming Dynasty’s failed experiments, that money became unpinned from real value.

Even within an individual collector’s career span mutations occurred, didn’t they? The Grimms’ tales became increasingly sanitized through subsequent editions. 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.One of the significant characteristics of postmodern culture is its paradoxical nature ( Foster, 1983). Anything can be juxtaposed to anything else, like opposing emotions in love and hate, cognitions in belief and doubt. This phenomenon is readily observable in art, literature, advertising, and other media. Therefore, fairy tales can yield a new meaning by juxtaposing with other differential elements through an artist’s consciousness of the world. Preston (2004) has observed that the stuff of fairy tales, in postmodernity, exists as fragments acquired through some possible forms of cultural production. For instance, the British designer Alexander McQueen found inspiration in Grimms’ fairy tales, infusing the Gothic sensibility of fairytales into the boundaries of fashion, making him one of the most creative visionary designers of his generation. Fashion photographers, such as Annie Leibovitz and Eugenio Recuenco, create their own visual narrative in this fairytale trend, putting their contemporary gloss on familiar tales with fresh fashions and brilliant casting. Their collaboration with the well-known fashion magazine Vogue offers stunning images and an unparalleled notion of fairytale haute couture ( Figure 1).

Exactly, in the late 12th century. And they were prominent in the 15th century, too, as well as in Perrault’s time. When Perrault was working there was a group of them, and many of them – friends and colleagues – were women. 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.

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Hyde, Douglas (1890). "The Tailor and the Three Beasts". Beside the Fire. sacred-texts.com . Retrieved 23 August 2023. The Panchatantra – Story 30 The Brahmin and the Goat". An eye for everything. 21 August 2017 . Retrieved 23 August 2023. Croker, Thomas Crofton (1834). Fairy Legends and Traditions of the South of Ireland. London: J. Murray.

I think the same is true of canonical literature. The advent of a supposedly definitive text – as the Grimms’ aimed to be – acted as a brake on the exuberance of invention, on the infidelity of all the translators who were working not necessarily from one language to another but from one medium to another. Warner, M. (1996). From the Beast to the Blonde: On Fairy Tales and Their Tellers. Farrar, Straus and Giroux. Colum, Padraic (1929) [1919] The Girl Who Sat by the Ashes, New York: The MacMillan Company. Retrieved 24 November 2017. There’s been a revival of interest in her work in the UK recently. There’s Edmund Gordon’s excellent biography, for example. How do you explain this revival? Why now?

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Inge, M. T. (2004). Walt Disney’s Snow White and the Seven Dwarfs: Art, Adaptation and Ideology. Journal of Popular Film and Television, 32, 132-142. Is that a key moment in the life of the fairy tale – the move from oral to written form? Did it change who and what they were for?