An Introduction to the "Innocent Persecuted Heroine" Fairy Tale

Bacchilega, Cristina

doi:10.2307/1499490

Cited by 14 publications

(5 citation statements)

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“…Yet the miller's daughter is not an average “innocent persecuted heroine” (cf. Bacchilega 1993). Rather, she is partly complicit in her own predicament, and she must exercise wit and protagonism to redeem herself.…”

Section: IIImentioning

confidence: 99%

Rumpelstiltskin's Deliverables: Grimm Inspiration for Humanism in Development

Heatherington

2010

Anthropology and Humanism

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Is there space for humanistic anthropology within the development sciences used to plan economic growth and ecological modernization? This article adapts a provocative fable to ponder a "global assemblage" designed to transfer authoritative knowledge and advanced technology for "sustainability" from the American Midwest to postsocialist eastern Europe. I retell the story of Rumpelstiltskin to reflect on participation in global systems of outsourced expertise, guessing at the nature of "the helper" with the aid of the fanciful. [Keywords: reflexivity, blurred genres, applied anthropology, sustainable development, eastern Europe] I I have a daughter who can spin straw into gold. The Miller in "Rumpelstiltskin"

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Section: IIImentioning

confidence: 99%

Rumpelstiltskin's Deliverables: Grimm Inspiration for Humanism in Development

Heatherington

2010

Anthropology and Humanism

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“…Cristina Bacchilega introduced this narrative archetype as the motif of the persecuted maiden. 82 This definition can be considered as an umbrella term if related to the folktale universe, as Cinderella, Donkeyskin, The Armless Maiden, Belle from Beauty and the Beast, Snow-White can all be considered as persecuted maidens, some because of their beauty (Cinderella, Snow White), some because they refuse the marital law and refuse the taboo of incest. Donkeyskin, or Peau d'Ane, from the Perrault tale, is refusing to marry her father who sees in her the image of her dead mother, and in each version of the tale she is helped by an old woman to trick in many ways her father so that she can leave her house and look for a safer place.…”

Section: A Woman Must Diementioning

confidence: 99%

How to Escape from the Bloody Chamber: Strategies of Female Resistance in Folktales

Cardillo¹

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Chapter One. The forbidden room and other dishonored prohibitions: narrations of Bluebeard from Saint Triphine to Angela Carter 1.1. The Bluebeard archetype…………………………………………………………………. 17 1.2. A young lady and her husband's keys…………………………………………………... 18 1.3 "I only did what he knew I would": Angela Carter's The Bloody Chamber……….…... 33 1.4. Filling the blank page: the female subjectivity in The Bloody Chamber …………….. 42 1.5. The Marquis and the Sultan: masculinity and Orientalism……………………………. 45 Chapter Two. The Traffic in Maidens: female alliances, wicked women and elements of kinship in the patriarchal territory of folktales 2.1. A woman must die………………………………………………………………………… 51 2.2. The Snow Child and the embodiment of male fantasies……………………………… 53 2.3. Runaway girls: tales of renegade daughters, incestuous men and chopped hands……………………………………………………..……………………………………… 65 Chapter Three. Body of evidence: women in male disguise and interferences in the homosocial sphere 3.1 The Shift of Sex……………………………………………………………………………. 69 3.2 Costanza, Costanzo and the Three Crowns……………………………………………. 71 3.3 The body of evidence: cross-dressing and battlefields…………………………….…... 76 4 3.4 Homoerotic desire and original hermaphrodism………………………………………… 85

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“…Critical feminist analysis of fairy tales have highlighted how representations of femininity are defined by the clash between 'good' and 'bad' femininity (Atkins, 2005;Bacchilega, 1993;Fisher & Silber, 2000;Harries, 2000;Joosen, 2004;Jorgensen, 2013;Rowe, 1979). The 'good' heroines have been critiqued for being passive 'damsels in distress' with limited abilities to exert any real change (Bacchilega, 1993;Jorgensen, 2013;Rowe, 1979). Regardless of the torment they are subjected to, they continue to endure hardship without voicing their concerns (Bacchilega, 1993;Jorgensen, 2013;Rowe, 1979).…”

Section: Fairy Tale Researchmentioning

confidence: 99%

“…The 'good' heroines have been critiqued for being passive 'damsels in distress' with limited abilities to exert any real change (Bacchilega, 1993;Jorgensen, 2013;Rowe, 1979). Regardless of the torment they are subjected to, they continue to endure hardship without voicing their concerns (Bacchilega, 1993;Jorgensen, 2013;Rowe, 1979). In spite of their miserable circumstances, their natural beauty and virtue continues to shine through.…”

Section: Fairy Tale Researchmentioning

confidence: 99%

“…The continuous relevance of fairy tales is also illustrated by my own continual engagement with these tales. In spite of being educated and familiar with the feminist critiques of fairy tales as deeply oppressive and inherently patriarchal (Bacchilega, 1993;Rowe, 1979), it is difficult to deny the pleasures associated with these classic tales. I recall reading the classic tales with fascination when I was a child and relishing the opportunity to dress up as a Princess.…”

Section: Reflexivitymentioning

confidence: 99%

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Fairy Tale Femininities: A Discourse Analysis of Snow White Films 1916-2012

Dam¹

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<p>Fairy tales are enduring cultural texts that have enjoyed wide appeal and the continuing popularity of the fairy tale can be seen in the recent proliferation of media employing fairy tale narratives. Fairy tales provide a site of meaning about femininity and masculinity and examining them over time identifies versions of gender that are prized or denigrated within specific social, historical moments. This project was interested in the continuities and divergences in these gendered discourses across time. Although there has been considerable academic interest in fairy tales and gender, few studies have approached the topic from a genealogical perspective. This research extends the current literature through a genealogical analysis of five Snow White films from 1916 to 2012 in addition to incorporating an analysis in relation to a contemporary postfeminist, neoliberal social climate. The research employed a feminist poststructuralist framework and utilised thematic and genealogical Foucauldian discourse analysis to analyse the data. Discursive analyses found enduring discourses of traditional femininity across the films which centrally organised around a binary construction of femininity as ‘good’ or ‘bad.’ A moral discourse worked to construct ‘good’ femininity as prized and bad femininity as punished. Alongside persistent discourses of femininity, however, a newer postfeminist femininity was evident in recent versions of the fairy tale. Consistent with a postfeminist, neoliberal discourse that highlights the importance of the body, analyses found an increased emphasis on beauty and the vast effort required to maintain it. Another postfeminist shift in the tale was the invoking of a girl power discourse to construct Snow as a competent fighter and leader. However, the complex entanglement of discourses of femininity in contemporary society is highlighted by the co-existence of these newer versions of femininity with traditional goals such as achieving a ‘happily ever after.’ From the perspective of possibilities for subjectivity, these shifts in representation appear to offer a young female audience more empowered possibilities of femininity but such power is simultaneously constrained by a complex amalgamation with traditional ‘niceness’ and beauty.</p>

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An Introduction to the "Innocent Persecuted Heroine" Fairy Tale

Cited by 14 publications

References 2 publications

Rumpelstiltskin's Deliverables: Grimm Inspiration for Humanism in Development

Rumpelstiltskin's Deliverables: Grimm Inspiration for Humanism in Development

How to Escape from the Bloody Chamber: Strategies of Female Resistance in Folktales

Fairy Tale Femininities: A Discourse Analysis of Snow White Films 1916-2012

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