The Japanese countercultural icon Terayama Shūji produced three projects in the years 1961–1979 that rework the legend of Bluebeard, often intermixing the folkloric narrative with contemporary lived reality. This was a countervailing tendency to the tide of texts emerging at the time that demythologize Bluebeard by means of historical figures such as Gilles de Rais. Terayama’s work on Bluebeard might best be understood as an effort to frustrate the mapping of folklore and legend to practices of the past and to insist on the liberational potential of taking possession of narratives in the folkloric mode
20th-century Persian-language oral storytelling in Afghanistan and Islamicate popular literature pro...
The study of masculinity in fairy tales lags behind the study of femininity, a lack this article add...
ABSTRACT: This article challenges the position taken by some experts in the field of fairy tales tha...
Ōba Minako (1930–2007) was captivated by the imaginative world of the mukashi-banashi (folktales) an...
I attend to the particular social and revelatory functions that the folkloric has been made to perfo...
The late Victorian pantomime role of principal boy can be and sometimes was seen as existing outside...
In American films Wilhelm and Jacob Grimm appear as malleable as the folktales they collected and pu...
Fairy tales starring cross-dressed knights who make war present a clear case of “heroinism.” What, t...
Using the new frameworks for analysis of Disney animation laid out by scholars such as Douglas Brode...
Terayama Shūji (1935–1983) is best known for his work with the experimental theater group Tenjō Saji...
For nearly two centuries the English theatrical tradition of Christmas pantomime has served as a sig...
The reader is invited to imagine one performance, as transcribed and reported by an ethnographer-fol...
In this paper I explore Gorakhnath as a trickster hero in the North Indian folklore of Raja Bharthar...
Though fairy-tale retellings by women writers are noted for their usefulness in reinventing feminini...
• Chin-Chin Kobakama • The Goblin-Spider • The Old Woman Who Lost Her Dumplings • The Boy Who Drew C...
20th-century Persian-language oral storytelling in Afghanistan and Islamicate popular literature pro...
The study of masculinity in fairy tales lags behind the study of femininity, a lack this article add...
ABSTRACT: This article challenges the position taken by some experts in the field of fairy tales tha...
Ōba Minako (1930–2007) was captivated by the imaginative world of the mukashi-banashi (folktales) an...
I attend to the particular social and revelatory functions that the folkloric has been made to perfo...
The late Victorian pantomime role of principal boy can be and sometimes was seen as existing outside...
In American films Wilhelm and Jacob Grimm appear as malleable as the folktales they collected and pu...
Fairy tales starring cross-dressed knights who make war present a clear case of “heroinism.” What, t...
Using the new frameworks for analysis of Disney animation laid out by scholars such as Douglas Brode...
Terayama Shūji (1935–1983) is best known for his work with the experimental theater group Tenjō Saji...
For nearly two centuries the English theatrical tradition of Christmas pantomime has served as a sig...
The reader is invited to imagine one performance, as transcribed and reported by an ethnographer-fol...
In this paper I explore Gorakhnath as a trickster hero in the North Indian folklore of Raja Bharthar...
Though fairy-tale retellings by women writers are noted for their usefulness in reinventing feminini...
• Chin-Chin Kobakama • The Goblin-Spider • The Old Woman Who Lost Her Dumplings • The Boy Who Drew C...
20th-century Persian-language oral storytelling in Afghanistan and Islamicate popular literature pro...
The study of masculinity in fairy tales lags behind the study of femininity, a lack this article add...
ABSTRACT: This article challenges the position taken by some experts in the field of fairy tales tha...