Search Results (5)

My essay aims at considering the mythological figure of Melusina and her literary development, starting from the Middle Ages up to the Romantic period. The main purpose is to determine how this fictional entity, originally regarded as the symbol of nature and its fecundity, has changed over the time in relation to the historical and cultural complex and how this has reverberated in terms of interpretation of the identity of the literary character. I will consider the medieval versions of Jean D’Arras (1392), with some consequent references to Coudrette (1401–1405) and von Ringoltingen (1456), and the German romantic fairytale rewriting of Ludwig Tieck (1800). If the thematic nucleus remains the same, the configuration of the female character changes by reflecting the new Romantic poetics in terms of interest towards femininity, subjectivity and the study of the morphology of the Earth. In particular, Melusina is no longer seen as a mere and passive object, but as a subject who for the first time, hiding in an emblematic cave, reveals to the reader her own interiority and her own truth, totally assimilating herself to the external environment. The conclusion will show how the cultural subtext modifies the interpretation of this atavistic character. Full article

This paper examines the gothic fairy tale in Carmen Maria Machado’s memoir In the Dream House and short story “The Husband Stitch” with a focus on Bluebeard’s insistent presence and the interweaving of reality, gothic horror, and fairy tale. In the memoir, Machado restages her experience of queer intimate partner violence in the form of a gothic fairy tale as “The Queen and the Squid”, reminiscent of the tale of Bluebeard’s latest wife. By including gothic fairy-tale elements in the autobiographical text, Machado blurs the boundaries between the fictional and non-fictional realm, between her story and that of Bluebeard’s latest wife, thereby rewriting the tale for a queer context. The annotation of the memoir using Stith Thompson’s Motif-Index of Folk-Literature further superimposes the fairy tale onto Dream House. Machado’s short story “The Husband Stitch” is a gender-aware inversion of “Bluebeard”. The reappearance of the tale throughout Machado’s work reveals the persistence of abusive behavioral patterns in relationships to the present day. Machado’s intertextual storytelling blurs the lines between autobiographical events and the tale of Bluebeard’s latest wife, creating a shared narrative universe of experiences of women who have dealt with their own iteration of Bluebeard. Full article

As with other twenty-first-century rewritings of fairytales, Cinderella is Dead by Kalynn Bayron complicates the classic ‘Cinderella’ fairytale narrative popularized by Charles Perrault and the Brothers Grimm for new audiences, queering and race-bending the tale in its decidedly feminist revision of the story. However, as we argue here, the novel also provides an interesting intervention in the construction of age as related to gender for its female protagonists. Drawing on Sylvia Henneberg’s examination of ageist stereotypes in fairytale classics and Susan Pickard’s construction of the figure of the hag, we explore the dialogic between the fairytale revision, traditional fairytale age ideology and the intersection of age and gender in this reinvention of the classic narrative. By focusing on constructions of age, particularly senescence, we demonstrate how complex constructions of older characters might aid in overall depictions of intergenerational relationships, and how these intergenerational relationships in turn reflect historical and cultural impetuses of retelling fairytale narratives. Full article

Many rewritings of fairy tales use this genre to address the darkest, most violent, most unjust, and most painful aspects of human experiences, as well as to provide hope that it is possible to overcome or at least come to terms with such experiences. Francesca Lia Block’s The Rose and the Beast: Fairy Tales Retold (pub. 2000) is an example of such a use of fairy-tale material. Block’s stories transform traditional fairy tales to narrate the painful realities adolescents can be faced with in modern-day American society. In doing so, Block’s stories draw attention to the violence, both literal and ideological, inherent in well-known versions of fairy tales, as well as to the difficulty of confronting painful realities. Yet, as they depict young heroines (not) facing all kinds of ordeals, the stories also use the figure of the helper to restore hope to the protagonists and lead them to a new, often re-enchanted, life. Employing fairy-tale elements to both address suffering and provide hope, The Rose and the Beast thus offers complex and liminal narratives, or ‘anti-tales’, which deeply resonate with their intended adolescent audience’s in-between stage of life. Full article

This paper examines the ethical failure of theodicies by integrating the perspectives of philosophical argumentation and literary reading and analysis. The paper consists of two main parts. In the first part, we propose an ethical critique of metaphysical realism by analyzing its inability to recognize the perspectival plurality and diversity of suffering. As theodicies seek to explain how an omnipotent, omniscient, and absolutely benevolent God could allow the world to contain evil and suffering, it can be argued that metaphysical realism—i.e., the thesis that the world possesses its own fundamental structure independently of human perspectives of conceptualization and inquiry—is a problematic starting point of theodicism. We examine the failure of recognition of others’ suffering inherent in theodicies as a failure based on the search for an overall reductive and objectifying picture (a “God’s-Eye View”) that is constitutive of metaphysical realism. The second part of the paper shows why we should include insights from imaginative literature in our attempts to understand the recognition failures of theodicies. Emphasizing the literary, philosophical, and theological relevance of various modern rewritings of the Book of Job, which has been a crucially important sub-text for many later literary works in which the protagonists render a particular kind of human experience—unmerited suffering—we turn more closely to some literary examples, such as Joseph Roth’s novels Hiob and Die Rebellion. The tensions that are created around the moral controversy of the experiences of injustice and suffering and the human and religious reasoning and justification of violence are examined. The ambiguous ending of Hiob that adds an apparently hopeful and almost fairytale-like redemption to the story plays a crucial role in the interpretation provided in the paper. By analyzing some literary examples and their relation to the literary Job tradition, the recognition-failures of theodicist attempts to provide meaning into suffering—attempts based on metaphysical realism, as argued in the first part of the paper—are highlighted. Finally, we also critically consider the charge that theodicism could only be theoretically formulated and argue that a sharp distinction between theory and practice in this area is itself an act of non-recognition, or a failure to recognize suffering. Full article