CINDERELLA BIBLIOGRAPHY
by
Russell A. Peck

BIOGRAPHY AND AUTOBIOGRAPHY:

Dowling, Colette. The Cinderella Complex: Women’s Hidden Fear of Independence.

New York: Summit Books, 1981.

[Studies the debilitating effect of the myth on women who live in expectation of being saved by some prince who will come and lend meaning to their lives. Explores ways in which women, especially in midlife, might assume a healthy independence of the Cinderella complex.]

Elmer, Isabel Lincoln. Cinderella Rockefeller: An Autobiography. New York: Freundlich

Books, 1987.

[Dust jacket: The great granddaughter of William Rockefeller (John D.’s brother and partner), Belle Elmer grew up in a family whose immense power became its own insidious bondage. To the softspoken and commanding men and women who dwelt in the vast Rockefeller mansions and dominated the financial world and society pages, love and affection were alien and suspect emotions. The closest they could come was a stifling control — that guaranteed that the next generation would be similarly bound. Belle’s story … is about a woman surprisingly untouched by power and riches … CINDERELLA ROCKEFELLER is the most intimate look we have had at being brought up a Rockefeller, and it shows us an unnerving thread of tragedy which weaves itself constantly, from generation to generation, among the threads of gold. Belle … experiences the despair and disconnection of a soul bereft of any spiritual values. Today, [she] is a busy housewife, grandmother, and the Director of Social Services for a Christian community on Cape Cod. How she got there, and what she learned on the way make a fascinating and inspiriting story.]

Hague, Jim. Braddock: The Rise of the Cinderella Man. New York: Chamberlain Bros.

(Penquin Group), 2005. Pp. 161.

[Biography of the Irish American James J. Braddock, born Jun 7, 1906, in MYC, without assistance, to Elizabeth O'Toole Braddock, her fifth child, weighing 17 pounds at birth. Hague, a sports writer, traces Braddock's life through street fights, school dropout, amateur boxing managed by his older brother, to his hooking up with manager Joe Gould to become a professional boxer with a powerful right hand. He went 38 fights without a loss before losing a decision to Joe Monte, whom he had beaten a few months before. His pro-record was at that time 27-0, with 16 knockouts, many in the first round. But he broke his right hand in that fight, and his career began to skid. He continued fighting, repeatedly breaking his hand. When the depression hit, his savings were wiped out. He was married to a very dedicated wife Mae, and they had three children, but he rebroke his hand repeatedly, and with his record at 42-23, he could not get fights that paid much. He broke his hand severely one last time and had to retire. Broke, with his children taken from him, he tried to work at the docks, but could only uise his left hand for heavy lifting. In the meantime his right healed, his left became very strong, and in September 1934, Gould managed to get him a match with Corn Griffin, a much talked about boxer, who had heavyweight aspiration, and who, when an opponent did not show up, agreed to fight Braddock as a means of keeping in shape. The purse was $250.00. Griffin thought he had nothing to lose--except the fight. Braddock surprised everyone with his powerful left hand as well as his right. He was given then given a match with John Henry Lewis, who had defeated him earlier. Though a 5-1 underdog, Braddock won again. Having defeated in quick succession two top-ranked contenders he managed to get scheduled into a heavyweight elimination tournament that would lead to the heavyweight championship. He next beat Arthur Lasky, winning a purs of $4,100. He immediately paid back the money he'd been given on welfare, his children moved back home with him and Mae, and the sports writer Damon Runyon gave him a knickname that stuck--"The Cinderella Man." He was to have been scheduled next to fight Max Schmeling, but Schmeling wanted to fight Max Baer after Baer had won championship and declined the match with Braddock. So Braddock was moved up to the championship fight with Baer as a 10-1 underdog. Jim worked hard in training camp, while Baer looked ahead to scheduling a fight with Joe Louis, who had lost to Schmelling. The fight went fifteen rounds, but Baer was soundly beaten. Braddock was heavyweight champ of the world. Hague includes a congratulatory telegram from FDR, who praised Braddock as "a role model for so many others who struggled through our Great Depression" (p. 138). Braddock defended his title six times in exhibitions fights with Jack McCarthy, then fought Joe Louis (June 22, 1937), to whom he lost. But Gould had gotten him a great contract--a sizeable purse, and a percentage of Louis's winnings for the next decade. It was a good fight, but Braddock was knocked out in the eighth round--the only knockout that he suffered in his long up-and-down-and-up career. He fought one more time, Tommy Farr in 1938, and won, though he was hurt in the fight and knew it was time to retire. He died November 29, 1974, age 68. In 2001 he was inducted into the International Boxing Hall of Fame. See also Michael C. DeLisa's biography of him (2005), and the Russell Crowe movie, also 2005.]

Murray, Bill, with George Peper. Cinderella Story: My Life in Golf. New York:

Doubleday, 1999.

[This New York Times Bestseller recounts the up-by-the-bootstraps career of Bill Murray, his love of the game as caddy, performer, gossip, daffy dude, humorest, and movie star in Caddyshack (in which he plays grounds keeper Carl Spackler). The Washington Post observes of the book: “Murray plays the funny daffy guy with all the verve he gives to that role in his movies. If he’s had a staid moment in his golfing life, it isn’t told here.” “No one has ever provided a sport with more comic relief than Bill Murray does gold” — Christian Science Monitor. “A book infused with gentle humor and even poetic insight. The style is breezy, anecdotal and deadpan … like one of Murray’s comic routines” — Denver Post (as cited on the rear cover of the paperback edition of the book).]

Shaw, Artie. The Trouble with Cinderella: An Outline of Identity. London: Jarrod’s Ltd.,

1955.

[A progress report on a tough life on the road, living with a double identity, one as a highly-publicized “personality,” another trying to make “a modicum of sense in a particularly bewildering period of history” (p. ll). Having fought his way from the slums of New York’s East Side to become one of America’s topflight jazz musicians and composers, “he was also fighting to find out more about Artie Shaw the man” (dust jacket). 12 photo illustrations.]

Tertis, Lionel. Cinderella No More. London: Peter Nevill, 1953.

[An autobiographical journey of Tertis, from his youth as a Jewish child in England and his beginning studies of violin and viola, to his recognition that the viola is not a second-class violin but one that is worthy of a significant repertoire of its own. He tells of retuning the instrument to play an Elgar piece, much to Elgar’s delight; then of his successful career as a solist and ensemble player — a great, hobnobbing with all the greats. He tells of a splendid Montagnana viola that he was fortunate to find and then recounts how, when writing a booklet called Beauty of Tone for String Players, he designed the Tertis Model viola, which altered the history, perception, and reception of the instrument. As Thomas Beecham put it, “this Cinderella branch of the orchestra,” formerly considered to be “one of the necessary and unavoidable evils which had to be endured” was miraculously redeemed; “the fact that the whole balance of the modern orchestra was rectified was due from A to Z to Tertis. He had heard the long and justified praise bestowed on him as a virtuoso; but when the history of music here and abroad came to be written, this saving of the orchestra’s ‘distressed area’ would be recognized as his greatest achievement” (p. 98).]

CRITICISM, THEORY, and ANALYSIS:

Aarne, Antti A., and Stith Thompson. The Types of the Folktale: A Classification

and Bibliography. Folklore Fellows Communications no. 184. Helsinki: Academia Scientiarum Fennica, 196l. Revised edn. 1964. Second revision, Helsinki: Soumalainen Tiedeakatemia, 1981.

[Tales classified according to Animal Tales (Wild Animals, Wild Animals and Domestic Animals, Man and Wild Animals, Domestic Animals, Birds, Fish, Other Animals and Objects); Ordinary Folk-Tales (Tales of Magic: Supernatural Adversaries, Supernatural or Enchanted Husband Wife or other Relatives, Supernatural Tasks, Supernatural Helpers, Magic Objects, Supernatural Power or Knowledge, Other Tales of the Supernatural; Religious Tales; Romantic Tales; Tales of the Stupid Ogre); Jokes and Anecdotes (Numbskull Stories, Stories about Married Couples, Stories about a Woman/Girl, Stories about a Man/Boy, The Clever Man, Lucky Accidents, The Stupid Man, Jokes about Parsons and Religious Orders, Anecdotes about Other Groups of People, Tales of Lying); Formula Tales (Cumulative Tales, Catch Tales, Other Formula Tales); Unclassified Tales. Types most frequently in Cinderella stories are 510: Cinderella and Cap o’ Rushes, which includes such functions as the persecuted heroine, magic help, meeting the prince, overstaying at the ball, proof of identity such as the slipper test, a ring, or unique abilities such as that of plucking the gold apple, marriage to the prince, and the value of salt. 510A: Cinderella, the stepsisters, the missing mother who helps by means of animals. 510B: The Dress of Gold, of Silver, and of the Stars, where the father would marry his daughter; three-fold visit to the church, identifying footwear. 511: One-Eye, Two-Eyes, Three-Eyes, with child abused by mother, but assisted by wise-woman; magical tree. 511A: The Little Red Ox, with cruel stepmother and stepsisters; Ox as helper; spying on the Ox, flight, a Magic Horn.]

Abel, Elizabeth; Marianne Hirsch; and Elizabeth Langland. The Voyage In: Fictions

of Female Development. Hanover, NH: University Press of New England, 1983.

Abrahams, Roger D. African Folktales: Traditional Stories of the Black World. New

York: Pantheon, 1983.

[Introduction (pp. 1-29). Sixteen Tales of Wonder from the Great Ocean of Story, with introduction; twenty-eight Stories to Discuss and Even Argue About, with introduction; thirty-three Tales of Trickster and Other Ridiculous Creatures, with introduction; two Tales of Praise of Great Doings, with introduction; fifteen tales on Making a Way Through Life, with introduction. Bibliography (pp. 343-346). See the entry under Modern Children’s Editions: African American, African.]

“Accusations of Abuse Haunt the Legacy of Dr. Bruno Bettelheim.” New York Times,

4 November 1990. The Week in Review.

Adams, Richard. “The Social Identity of a Japanese Storyteller.” Ph.D. dissertation.

Indiana University, 1972.

Afanasiev, Aleksandr. Russian Fairy Tales. Translated by Norbert Guterman. New York:

Pantheon, 1945.

Akridge, Sharon A. Hollenbeck. Cinderella from the Pampas. Ann Arbor, Michigan:

University Microfilms International, 1983.

Aldrich, Elizabeth. From the Ballroom to Hell: Grace and Folly in Nineteenth Century

Dance. Evanston, Ill.: Northwestern University Press, 1991.

[A mine of information on nineteenth-century manuals of etiquette on the ball as an avenue to acceptable behavior in America and Europe.]

Aley, Peter. Jugendliteratur im Dritten Reich. Gutersloh: Bertelsmann, 1967. P. 102.

[Cites G. Grenz on Cinderella as example of Prince, following his unspoiled instinct, to find the right Arian girl whereby the blood lines are kept pure. The voice in his blood tells him she is the right one.]

Angelopoulou, Anna. “Fuseau des cendres.” Cahiers de Littérature Orale, 15 (1989):

71-96.

[Considers functions of spindles at the fireside in folktales.]

Ansar, Rita. “De leraar als assepoester en de albino als mooiste in het rijk van

uilenspiegal: Een zoekplaatje.” Restant: Tijdschrift voor Recente Semiotische Teorievorming en de Analyse van Teksten, 8 (1980): 127-157.

[Psychoanalytic approach to the semiotics of Cinderella themes and figures.]

Antosh, Ruth. “Waiting for Prince Charming: Revisions and Deformations of the

Cinderella Motif in Contemporary Quebec Theater.” Quebec Studies, 6 (1988): 104-111.

[Considers the resurgence of fairytale motifs in French-Canadian drama. There are three fundamental configurations in the Cinderella plot that dramatists draw upon: 1) an unpromising hero or heroine who is often a societal outcast; 2) supernatural assistance of some kind, often in the form of a magnificent costume; 3) reversal of fortune and transformation of the hero/heroine to a superior existence (p. 105). Discusses the feminist production Si Cendrillon pouvait mourir, Jean Barbeau’s Citrouille, and Michael Tremblay’s Hosanna. All three plays denounce sexual stereotypes and stress the importance of waking up and a transition toward a new self.]

Arbuthnot, May Hill, and Zena Sutherland. Children and Books. Glenview, IL: Scott,

Foresman, 1972.

Arcana, Judith. Our Mothers’ Daughters. Berkeley: Shameless Hussy Press, 1979; rpt.

London: The Women’s Press, 1981. Introduction by Phyllis Chesler.

[Ch. 1: Daughter and Mother: Learning the Roles, considers traditional socialization of women, role requirements, mothers as role models, alternate models, martyr mothers and dutiful daughters, mothers and daughters as friends, and role reversals. Ch. 2: Mothers a Teachers: We learn to be Women, considers sex role stereotyping for girls, lessons in motherhood, men, marriage, “women’s work,” childcare, bodies and sexuality, education and jobs, lying to ourselves and family, truth-telling. Ch. 3: Touching: Affection and Violence, considers pregnancy, childbirth and nursing, sexuality and physical gratification, menstruation, menarche, and menopause, toughing stops, the technology of beauty, hitting little girls, beatings, maternal power, and daughters’ rebellion. Ch. 4: Competition: Some Data and Definition, looks at the performance of womanly tasks, cleverness and social power, attention and affection, sex and beauty, daughters’ fear of repeating their mothers’ lives, fathers as objects and competitors, sister-brother rivalry, sister-sister rivalry, nuclear family as source of competition. Ch. 5: Fathers: The Men in Our Lives, notes the cultural history of fatherhood and patriarchy, social definitions of father-daughter relationships, daughters devoted to fathers, the model for heterosexual relations, sexuality between father and daughter, incest-rape, mother-daughter bond excluding fathers, mothers abandoning daughters for father, fathers interrupting the mother/daughter relations. Ch. 6: Leaving: The Pain of Separation, on crises and cycles in families, going away to school, entrance into the “real world,” getting married, desires for independence, and parental responses to daughters leaving, mothers’ deaths and metaphoric matricide. Ch. 7: Daughters Become Mothers — More Often Than Not, on maternal instinct, socialization toward motherhood, decision to have a baby, choosing not to reproduce, having babies to please our mothers or to prove womanhood, preferences of sex of children, pressure on women to bear sons, impact of women’s movement.]

Arens, W. The Man-Eating Myth: Anthropology and Anthropophagy. New York: Oxford

University Press, 1979.

Ariès, Philippe. Centuries of Childhood. A Social History of Family Life. New York:

Alfred A. Knopf, 1962.

[An attempt to identify the social implications of family under the ancient regime by a demographic historian who moves back into a more distant past to discover the limits of original characteristics of the modern family. The argument is divided into three parts: 1) The idea of childhood, from early ages-of-life theories to discovery of childhood, its dress, games and pastimes, and conflicting concepts of childhood as innocence and animality; 2) Scholastic life, which examines developments in the education of children along with ideas of college, a school class, day schools and boarding schools, “little schools,” and the duration of childhood; and 3) The Family, from the medieval to the modern family and its concepts of sociability.]

Arnason, Jon. Icelandic Legends. Translated by George J. Powell and Eirikr Magnusson. Second

series. London: Longmans, Green, 1866.

Ashliman, D. L. A Guide to Folktales in the English Language: Based on the Aarne-

Thompson Classification System. Westport, Conn.: Greenwood Press, 1987.

[The guide follows the numbering of types in Aarne-Thompson. It provides a format that is easier to move around in than its source.]

Ashmore, R. D., and F. K. Del Boca. “Conceptual Approaches to Stereotypes and

Stereotyping.” In Cognitive Processes in Stereotyping and Intergroup Behavior. Ed. D. L. Hamilton. New Jersey: Erlbraum, 1981. Pp. 1-35.

Asper, Kathrin. The Abandoned Child Within: On Losing and Regaining Self-Worth.

New York: Fromm International, 1993.

[Asper is a Jungian analyst. She divides the Cinderella narrative into segments to study the emotional crises of abandonment and recovery. She looks upon all “characters” in the Cinderella story as aspects of an individual going through the processes of loss — Cinderella herself is the figure of abandonment and abuse in her search of self-worth; the stepsisters reflect her effort to gain self-esteem by putting down others and putting on clothes, jewelry, etc. to gain attention and to cover the emptiness, all of which can end up in unhappy self-mutilation; the stepmother, the recurrent doubts of self-worth and the repressive, driving of hope through self-hatred into the ashes; the father, a kind of repression of honest feeling under the fears of unacceptable public behavior. See Once Upon a Loss, under Movies, where Asper is the Jungian analyst in a documentary film about grief.]

Athineos, Doris. “Cinderella in a Shoebox: Antique toy theaters win rave reviews

from a British actor.” Traditional Home, March 1998, pp. 94-100.

[On Peter Baldwin’s affection for shoebox theater. N.b., his book Toy Theaters of the World (Antique Collectors’ Club, 1992). $39.95. His first miniature theater was designed for a performance of Cinderella. He discusses the sophistication of drama possible in such a forum. Oscar Wilde made such theaters for his friends. So too were Charles Dickens, Jack Yeats, Paul Klee, and Ingmar Bergman devotees. Marty Jacobs, theater curator of the Museum of the City of New York, has collected several of them. Wooden Victorian-period theaters go now for about $1,000.00. Pollack’s Toy Theatre Shop of Covent Garden, London, is a good place to look for toy theaters with fairytale scripts, along with prints of 19th-century theatre. The essay is well illustrated.]

Auerbach, Nina. The Woman and the Demon: The Life of a Victorian Myth. Cambridge,

MA: Harvard University Press, 1982.

-----. Our Vampires, Ourselves. Chicago: University of Chicago Press, 1995.

[“What vampires are in any given generation is part of what I am and what my times have become. This book is a history of Anglo-American culture through its mutating vampires.” Auerbach considers vampires to be our subversive confederates who in their timelessness leech our anxieties. Beginning with the early 19th century (Mary Shelley’s Frankenstein and John Polidori’s Vampyre as responses to Byron’s imaginative dabbling), Auerbach acknowledges the stock in trade of vampires in folklore, especially female vampires such as the baobhan sith, Irish banshees, and lamias. Bram Stoker’s Dracula owes much to the fate of Oscar Wilde: “The Wilde trials, and the new taboos that made them possible, drained the generosity from vampires, forcing them … to expend their energies on becoming someone else.” The shift made vampires a part of the exploration of shape-shifting and animal natures inherent in the raw material of folk tales. In the 20th century vampires have had a resurgence in America during the depression years where, with their foreignness, formality, and outlandish, aberrant nature, they “buttress Americans’ commitment to the devils they knew.” More recently the 1960’s horror films produced by England’s Hammer Studios represent a postwar rebellion against the reimposition of patriarchal authority, while in the 70s and 80s vampires become a vehicle for the feminist movement’s reconstructions of a new, sensitized man. Likewise they become a vehicle to explore such diverse problems as the politics of White House conspiracies, the unsettling resurgence of cult activities, and the terrifying shadows of AIDS. Auerbach’s approach is sociopolitical readings, rather than psychoanalytical, a refreshing complement to the Freudian and Jungian readings that have been prominent earlier in the century. Auerbach prophesies that the next wave of vampires will cruise the Internet, cloaked in virtual reality, leeching our minds rather than our blood.]

Auerbach, Nina, and U. C. Knoepflmacher. Forbidden Journeys: Fairy Tales and

Fantasies in Victorian Women Writers. Chicago: University of Chicago Press, 1989.

Avery, Gillian. Nineteenth-Century Children: Heroes and Heroines in English

Children’s Stories, 1780-1900. With the assistance of Angela Bull. London: Hodder and Stoughton, 1965.

[Victorian tales of imagination exhibit “a zest for punishment and a strain of savage cruelty quite beyond anything now permitted in children’s books” (p. 7). Avery considers Victorian ideas of improving the child through purposeful fairy tales and evangelistic fiction; ways of amusing the child and notions of pleasure, innocence, and the child’s “world”; and adult attitudes toward children as affected by class, education and upbringing, and morbidity.]

Babbitt, Natalie. “Fantasy and the Classic Hero.” School Library Journal, 34 (1987): 25-

29.

Bachofen, J. J. Myth, Religion, and Mother Right: Selected Writings of J.J.Bachofen.

Translated by Ralph Manheim. Princeton: Princeton University Press, Bollingen, 1967.

[Includes a retrospective on “My Life” and selections from An Essay on Ancient Mortuary Symbolism (including discussion of the three mystery eggs, sanctum and sacrum, the lamp in the myth of Amor and Psyche, and symbol and myth), selections from Mother Right, the introduction to The Myth of Tanaquil, and a select bibliography of Bachofen’s writings.]

Baguley, David. “La Curee: La bête et la belle.” In La Curee de Zola ou “la vie a

outrance”. Paris: Sedes, 1987. Pp. 141-47.

Baker, Donald. Functions of Folk and Fairy Tales. Association of Children’s Education

Institute. Washington, D. C., 1981.

[Discusses folktales as a means of coming to terms with the world as it is. Considers types, functions, and thematic structures of folk tales. Cinderella is of the displaced person type as she is relegated to the ashes. Paradoxically, keeping the hearth was “a prestigious occupation.” The Cinderella story combines two contradictory notions of child development: the degradation imagined by the displaced child and the warmth of feeling aroused by the coziness of home. In Cinderella is a reminder that children like dirt and that there is nothing wrong with getting dirty (p. 17).]

Bakhtin, Mikhail. Rabelais and His World. Translated by Helene Iswolsky. Cambridge: MIT

Press, 1968.

[Considers history of laughter, language of the marketplace, cultural functions of the festival and banquet, grotesquery, and images of the material bodily lower stratum.]

Banner, Lois. American Beauty. New York: Knopf, 1983.

Barchilon, Jacques. “Beauty and the Beast: From Myth to Fairy Tale.” Psychoanalysis

and the Psychoanalytic Review, 46 (1959): 19-29.

-----. Le Conte merveilleux francais de 1690 à 1790. Paris: Champion, 1975.

[A landmark study of French fairytales.]

Barchilon, Jacques, and Peter Flinders. Charles Perrault. Boston: Twayne, 1981.

[In the Twayne literary biography series.]

Bardwick, Judith. Psychology of Women. New York: Harper & Row, 1971.

[See especially pp. 144-152.]

Baring, Anne. “Cinderella: An Interpretation.” In Psyche’s Story. Ed. Stein and

Corbett. Wilmette, Ill.: Chiron, 1991. Pp. 49-64.

[Expands upon Bayley’s interpretation of Cinderella in Lost Language of Symbolism. “Cinderella personifies both the exiled human soul, cut off from Paradise and her Mother and Father in heaven, and also the ‘light’ of the Holy Spirit of Wisdom which is hidden within the soul, unsought and unrecognized until events are set in motion by the appeal to her ‘God’-mother” (p. 52). In this role she is like Sophia and Persephone; like the Bride in Song of Songs she undergoes trials in darkness prior to her royal marriage. Solomon, like the Prince in the story, once he sees her is consumed with love for her and seeks her until he finds her. Midnight marks the interface “between the dimensions of eternity and time …. To stay at the ball beyond midnight is to forget human values and human relationships, losing touch with physical reality and everyday life” (p. 61). This essay is based on material used in Jules Cashford and Anne Baring, The Myth of the Goddess: The Evolution of an Image (Viking Arkana, 1991).]

Barry, W. A. “Marriage Research and Conflict: An Integrative Review.” Psychological

Bulletin, 73, 1979, pp. 41-45.

Barthes, Roland. S/Z. Paris: Editions du Seuil, 1970. Translated by Richard Miller. New York: Hill

and Wang, 1974.

[Combines rigors of structuralist analysis, tracing five codes through a tale broken down into 561 lexias, with speculative excursuses on narrative and its reading. Breaks away from a rigid notion of structure to a more fluid and dynamic notion of structuration with the text seen as a texture, a weaving of codes which the reader sorts out only in provisional ways through a déjà-lu process, as if the reader had already read and written the writer’s text. Plot, function, sequence — the intertextual interlockings — belong to the reader’s literary competence and training as a reader.]

-----. The Fashion System. Translated by Matthew Ward and Richard Howard. New York: Hill

and Wang, 1983.

[The object of this inquiry is the structural analysis of women’s clothing as currently described by Fashion magazines — an exercise in semiology. In the Woman of Fashion, a kind of monster, “we recognize the permanent compromise which marks the relation between mass culture and its consummers: the Woman of Fashion is simultaneously what the reader is and what she dreams of being; her psychological profile is nearly that of all the stars ‘told’ about every day by mass culture, so true is it that Fashion, by its rhetorical signified, participates profoundly in this culture” (pp. 260-261). “Like logic, Fashion seeks equivalences, validities, not truths; and like logic, Fashion is stripped of content, but not of meaning. A kind of machine for maintaining meaning without ever fixing it, it is forever a disappointed meaning,” a double system of ethical ambiguity (p. 288).]

Bascom, William R. “Four Functions of Folklore.” In The Study of Folklore. Ed. Alan

Dundes. Englewood Cliffs, N.J.: Prentice Hall, 1965. Pp. 279-98. Cf. “The Forms of Folklore: Prose Narrative,” Journal of American Folklore, 78 (1965): 3-20.

[Functions include the defining of projective systems, the validating of culture, pedagogical intentions, and the applying of social pressure and exercising of social control, all for the purpose of maintaining cultural stability.]

-----. “Cinderella in Africa.” Journal of the Folklore Institute, 9 (1972): 54-70; rpt. in

Dundes, Cinderella: A Casebook. Pp. 148-168.

[Anthropological study, with retellings of African Cinderella stories. Considers question of indigenous tales influenced by European intrusion. For synopsis of “The Maiden, the Frog & the Chief’s Son,” see Bascom under Modern Children’s Editions: African.]

Bator, Robert J. “Eighteenth-Century English versus the Fairy Tale.” Research

Studies, 39 (1971): 1-10.

[Discusses Samber’s translations from Perrault (1729) and the critiques against them in England. Locke encouraged the use of children’s books, but not for pure amusement. Perrault’s morals appended are more for adults than the children. But the climate of opinion was against Perrault for his use of magic and the supernatural. Parents and educators rail against this “dangerous” form of literature. The first “true literature” entertains “without the help of fairies.” Thomas Boreman’s Gigantick Histories (1740-42), for example, is fine because it is entertaining, but dismisses all fairy tales. Later in the century the attack becomes quite confident: a 1783 review states: “the notion that seemed formerly to have prevailed, that the minds of children could only be amused with the idle tales of giants, fairies, etc., is happily exploded. It is the peculiar praise of the present generation to have substituted rational information in the place of all that nonsensical trifling” (p. 3). Sarah Trimmer’s attacks in her periodical The Guardian of Education (1802-1805) typify the arguments against fairy. Early in the century D’Aulnoy fared somewhat better in England than Perrault, partly because she directed herself more to adults. But the stories had to be moralized, turned into instruments of learning--scientific learning. Though some fantastical literature succeeded in the earlier part of the century, in the latter part, as Lamb observed, “science has succeeded to imagination no less in the little walks of children than with men” (p. 8). Rousseau, who wanted no books for children, inspired his English disciples to write “improving conversations” and domestic walks for children rather than harmful imaginative nonsense.]

Bausinger, Hermann. “Aschenputtel: Zum Problem der Marchen-symbolik.” Zeitschrift

fur Volkskunde, 52 (1955): 144-158.

[Symbolic and spiritual interpretations of fairy tales in general, with some emphasis on Cinderella.]

Bayley, Harold. The Lost Language of Symbolism. London: Williams and Norgate, 1912.

[Sees the Cinderella story as an allegory of the soul’s transformation of light out of darkness, akin to Gnostic, Egyptian, and Sumerian mythology. Oppressed by stepmother bondage, Cinderella, with her configuration of symbols of light hidden in darkness, moves toward her Prince (Divinity) through trials and disguise. Her name Cin comes from Sin, the Babylonian moon god, father of Ishtar; El, the light element in the Babylonian sun god Bel, and surviving in the Hebrew Elohim. See also ella, which means giver of light. Ele is the root of Eleleus, one of the surnames of Apollo, and also is present in Helios and Selene (p. 192). These components define Cinderella, “the bright and shining one, who sits among the cinders and keeps the fire alight,” and show her to be the “personification of the Holy Spirit dwelling unhonoured amid the smouldering ashes of the Soul’s latent, never totally extinct, Divinity” (pp. 194-195).]

Bearse, Carol I. “The Fairy Tale Connection in Children’s Stories: Cinderella Meets

Sleeping Beauty.” The Reading Teacher, 45, 1992, pp. 688-696.

[Explores psychological aspects of cognition in children.]

Becker, Jane S., and Barbara Franco, eds. Folk Roots, New Roots: Folklore in

American Life. Lexington, MA: Museum of Our National Heritage, 1988.

[Eight essays on the resurgence of interest in folklore in America in the later twentieth century, including Jane A. Becker, “Revealing Traditions: The Politics of Culture and Community in America, 1888-1988” (pp. 19-60); and Jackson Lears, “Packaging the Folk: Tradition and Amnesia in American Advertising, 1880-1940” (pp. 103-140).]

Behlmer, Rudy. “They Called It ‘Disney’s Folly’: Snow White and the Seven Dwarfs

(1937).” In America’s Favorite Movies: Behind the Scenes. New York: Ungar, 1982.

Behrens, Laurence, and Leonard J. Rosen. “Fairy Tales: A Closer Look at

“Cinderella.” In Writing and Reading Across the Curriculum. Fifth Edition. New York: Harper-Collins College Publishers, 1994. 467-540.

[Includes excerpt from Stith Thompson, “Universality of the Folktale” (pp. 469-473); Perrault, “Cinderella” (pp. 474-479); Grimms’ “Ashputtle” (pp. 479-484); Tanith Lee, “When the Clock Strikes” (pp. 485-498); Waley’s translation of Tuan Cheng-Shih’s “A Chinese Cinderella” (498-500); an excerpt from Bascom’s version of “The Maiden, the Frog, and the Chief’s Son: An African Cinderella” (pp. 500-505); an excerpt from Indries Shah’s “The Algonquin Cinderella,” that is, “Oochigeaskw — The Rough-Faced Girl: A Native American Cinderella” (pp. 505-507), Campbell Grant’s adaptation for A Little Golden Book of the Disney movie “Cinderella” (1949) (pp. 507-510); Anne Sexton, “Cinderella” (pp. 510-513); excerpt from Bettelheim chapter on “Cinderella, Sibling Rivalry, and Oedipal Conflicts,” from The Uses of Enchantment (pp. 513-522), excerpt from Madonna Kolbenschlag, Kiss Sleeping Beauty Good-Bye, presented as “A Feminist’s View” (pp. 522-528); and Habe Tikebm’s “America’s Cinderella” (pp. 528-536), along with “Synthesis Activities,” which includes summary of Cap o’ Rushes, and Research Activities (pp. 536-540).]

Belmont, Nicole. “De Hestia a Peau d’Ane: Le destin de Cendrillon.” Cahiers de

Littérature Orale, 25 (1989): 11-32.

Ben-Amos, Dan, ed. Folklore Genres. Austin: University of Texas Press, 1976.

[Eleven essays on concepts of genre in folklore scholarship, including Francis Utley on “Oral Genres as a Bridge to Written Literature,” Max Luthi on “Aspects of the Marchen and the Legend,” David Bynum on “The Generic Nature of Oral Epic Poetry,” Harry Oster on “The Blues as a Genre,” Charles Scott’s “On Defining the Riddle: The Problem of a Structural Unit,” Linda Dégh and Andrew Vázsonyi on “Legend and Belief,” Peter Seitel on “Proverbs: A Social Use of Metaphor,” Barre Toelken on “The ‘Pretty Languages’ of Yellowman: Genre, Mode, and Texture in Navaho Coyote Narratives,” V. Hrdlicková on “Japanese Professional Storytellers,” Roger Abrahams on “The Complex Relations of Simple Forms,” and Dan Ben-Amos on “Analytical Categories and Ethnic Genres.”]

Benedict, Ruth. Zulu Mythology. New York: Columbia University Press, 1935.

Benet, Sula. “The Cultural Meaning of Folklore: The Cinderella Motif.” In VII Congres

International des Sciences Anthropologiques et Ethnologiques, Moscou 3 aout-10 aout 1964, 6, (Moscow 1969): 175-177.

[American Indian use of Cinderella as metaphor for parent-child relations.]

Benjamin, Walter. Illuminations. Translated by Harry Zohn. Edited with introduction by Hannah

Arendt. New York: Harcourt, Brace and World, 1968; rpt. Schocken Books, 1969.

[In the essay “Unpacking My Library” Benjamin speaks of his delight in the illustrated Grimm and the reading of Bachofen. In “The Storyteller” (pp. 83-109) he suggests: “If peasants and seamen were past masters of storytelling, the artisan class was its university. In it was combined the lore of faraway places, such as a much-traveled man brings home, with the lore of the past, as it best reveals itself to natives of a place” (p. 85); also a strong practical interest. Considers the decline of storytelling in modern times. The storyteller takes from his own or reported experience and “makes it the experience of those who are listening to his tale. The novelist has isolated himself” (p. 87). The first story teller of the Greeks was Herodotus. A story does not expend itself; “it preserves and concentrates its strength and is capable of releasing it even after a long time” (p. 90). It thrives in a milieu of work. “Death is the sanction of everything that the storyteller can tell” (p. 94). “The cardinal point for the unaffected listener is to assure himself of the possibility of reproducing the story. Memory is the epic faculty par excellence” (p. 97). “The story teller is the man who could let the wick of his life be consumed completely by the gentle flame of his story. This is the basis of the incomparable aura about the storyteller …. The storyteller is the figure in which the righteous man encounters himself” (pp. 108-109).]

-----. Uber Kinder, Jugend und Erziehung. Frankfurt a.M.: Suhrkamp, 1969.

Benton, Michael. “Children’s Responses to the Text.” In Responses to Children’s

Literature. Ed. Geoff Fox et al. Munich: K.G. Saur, 1983.

[For the child reading is active, creative, unique, and participatory and thus co-operative. See also Michael Benton, et al., Young Readers Responding to Poems, London: Routledge, 1989.]

Berger, John. Ways of Seeing. Harmondsworth: Penguin, 1977.

[Ch. 3 theorizes “looking” relations. Useful for Cinderella, Donkey-skin, Beauty and the Beast, and other transformation narratives.]

Berland, David I., M. D. “Disney and Freud: Walt meets the Id.” Journal of Popular

Culture, 15 (1982): 93-104.

[Berland brings Freud’s theories of a pleasure principle, Narcissism, Thanatose, id, ego and superego to bear upon the “personali-ties” of Donald Duck, Mickey Mouse, and Goofy, then discusses the psychodynamics of various other movies. He finds Disney’s Cinderella to be “a passive heroine of the fairy godmother” who can do nothing for herself. Berland attempts to link Disney’s sanitizing efforts to his abused childhood. “By and large Disney Productions attempted, as an artistic policy, to be asexual” and thus “made safe for public consumption. Like Perrault, Disney was an entrepreneur who gave his public what it wanted to see” (p. 103).]

Berne, Eric. What Do You Say after You Say Hello? The Psychology of Human

Destiny. New York: Grove Press, 1972.

[Berne uses Perrault’s Cinderella as primary example of how fairytale scripting works in transactional analysis. Cinderella is the heroine, experiencing happiness early in life, then tragedy. She accepts time restrictions imposed by the Fairy Godmother and plays a version of “Hide and Go Seek” known in transitional analysis as “Try and Catch Me” with the Prince. After the ball she wears an “I’ve Got a Secret” facial expression, and, after the Prince finds her, communicates a “Now She Tells Us” transaction. The father, with the death of his first wife, marries an imposing, frigid woman and takes the Fairy Godmother as mistress. The Stepmother, through seduction, arranges a good marriage for herself, and then shows her negative intentions once she is secure. The Stepsisters imitate their mother and try to get everything first; once caught out they apologize and get rewarded with Lords as husbands. The Godmother tells Cinderella that her magic will fade at midnight, thus assuring that everyone will be out of the house until then so that she can spend time alone with Cinderella’s father. The Prince is a bit of a wimp, who can’t, even after two evenings, find out who she is, and, in a footrace, can’t catch her even though she is limping with only one shoe. The Prince’s Gentleman completes his work assignments with integrity; he might have appropriated Cinderella were he not ethical. The Two Lords who marry the Stepsisters transact marriages that doom them into a prescribed life style.]

Bernikow, Louise. Among Women. New York: Harmony Books, 1980.

[The chapter on Cinderella (pp. 18-38) is “a story about women alone together and they are each other’s enemies. This is more powerful as a lesson than the ball, the Prince or the glass slipper” (p. 18). Bernikow responds first to the Perrault/Disney tale, then to Grimm. In both the women vie for prettiness and mutilate themselves to achieve it — women who learn from women the power of aloneness, magic as a female art, the danger of midnight (the witching hour), and the control of men. Grimm’s version offers a less passive heroine, a virginal hearth child oppressed not just by the stepmother but by the father as well. In some early Cinderella stories the antagonist was the sexually predatory male. But Grimm’s tale ends with the mutilation of women by women. Cinderella going to the ball and wining fellowship might have been a happy ending. But the ball is more like Emma Bovary’s deadly fantasy.]

“Bettelheim Became the Very Evil He Loathed.” New York Times. 20 November 1990,

A20.

[Retrospective of The Uses of Enchantment.]

Bettelheim, Bruno. Symbolic Wounds: Puberty Rites and the Envious Male. New

York: Collier, 1962.

-----. “Fairy Tales as Ways of Knowing.” In Fairy Tales as Ways of Knowing. Ed.

Michael Metzger and Katharina Mommsen. Bern: Peter Lang, 1981. Pp. 11-20.

[Fairy tales take us to the edge of the abyss, then serenely rescue us. Reads Hansel and Gretel in terms of weaning trauma and Jack and the Beanstalk in terms of adjustments to life’s real problems, particularly as the child deals with replacement mothers who are demanding and frustrating, as in Cinderella. The beauty of fairy tales lies in their confrontation of such deeply troubling problems which are then resolved to the protagonist’s satisfaction.]

-----. The Uses of Enchantment. New York: Vintage Books, 1977.

[See esp. pp. 236-277 on Cinderella. Bettelheim offers an extended Freudian analysis of Perrault’s Cinderella, Grimm’s Aschenputtel, and other versions like the Scottish Rashin Coatie, as symbolic vehicles for a young girl’s maturation. He considers ashes as a trope in German folklore (Martin Luther’s discussion of Abel as Cain’s ash-brother, or Jacob as Esau’s ash-brother), the insecurities and aggressions surrounding sibling rivalry, a child’s pervasive feeling of worthlessness and masochistic desires to be treated like Cinderella, and a child’s Oedipal/Electral anxieties (kindly father, wicked stepmother, etc.) as she takes steps in personality development required to reach self-fulfillment and a readiness for courtship and marriage. Bettelheim examines this growth in terms of Erikson’s model of the human life-cycle beginning in basic trust, then proceeding to autonomy, initiative, industry, and finally identity. In the course of his analysis he gives some attention to Basile’s Cat Cinderella and versions of Cinderella involving incest (pp. 243-248). The hearth is symbol for mother, service there akin to Vestal Virgin duties. Her going to the ball several times before giving herself to the prince reflects her ambivalence toward committing herself personally and sexually. The slipper is a symbol of the vagina; her running away an effort to protect her virginity. The mutilation of the stepsisters’ feet involves forms of castration complexes. But the story does not deal with success in love, only the adolescent’s growth to a readiness for love.]

-----. Freud and Man’s Soul. New York: Alfred A. Knopf, 1983.

Billson, Anne. “The Witch Isn’t Dead.” New Statesman and Society, 5 (1992): 35.

[Highlights motion pictures with fairy tale themes in anticipation of the release of Disney’s Beauty and the Beast. Movies are a kind of rite-of-passage for youth, the first place where they can get away from their parents. All Westerns stem from Jack and the Beanstalk; all thrillers, from Bluebeard; all slasher movies, from Little Red Riding Hood.]

Binder, Gerhard, and Reinhold Merkelbach, eds. Amor und Psyche. Wege der

Forschung, bd. 126. Darmstadt: Wissenschaftliche Buchgesellschaft, 1968.

Bingham, Jane M., and Grayce Scholt. “The Great Glass Slipper Search: Using

Folktales with Older Children.” Elementary English, 51 (1974): 990-998.

[Considers folktales to be the most difficult kinds of marchen but the most useful in the instruction of older children because of their reach into a culture’s superstitions, beliefs, customs, and folksayings. Uses Stith Thompson to identify characteristic elements of a Cinderella story, and discusses, with synopses, twelve variants: Ashputtel, Turkey Girl, Little Burnt-Face, Abedeja, Maria and the Golden Slipper, Beauty and Pock Face, Banizara and Kakazara, The Three Sisters, Little Saddleslut, Mjadveig, and Mette Wooden-hood.]

Birkin, Lawrence. Consuming Desire: Sexual Science and the Emergence of a Culture

of Abundance 1871-1914. Ithaca, NY: Cornell University Press, 1988.

Blatt, Gloria T., ed. Once Upon a Folktale: Capturing the Folklore Process with

Children. New York: Teachers College Press, 1993.

[Thirteen essays, each followed by a “Try This” cluster of suggestions for exercises. Part I: Bringing Folklore and Children Together in School: A Beginning. Part II: Understanding the Folklore Process Introduction; Part III: Making Connections Between Folklore and Other Forms of Literature.]

Blind, Karl. “A Fresh Scottish Ashpitel and Glass Shoe Tale.” The Archaeological

Review, 3 (1889): 24-38.

[A version from a Scottish informant in Australia, accompanied by a detailed solar mythological interpretation based largely on a golden, shining shoe (Dundes, 1982, p. 309)].

Bloch, Dorothy. “So the Witch Won’t Eat Me”: Fantasy and the Child’s Fear of

Infanticide. Boston: Houghton Mifflin, 1978.

[The book is part of a post-Freudian psychiatrist’s search for a cohesive theory of emotional “illness” and a growing sense of the role of violence in its causation. Discusses children’s fear of their parents killing them, fantasies of abandonment, problems of gender definition, feelings of “worthlessness” and the “noble parent,” the need for a distorted parental image, a girl’s obsession with marrying her father, the fear, fantasy and hope of being loved, and the persistence of childhood fantasies in an adult.]

Bloom, Harold. “Driving out Demons.” New York Review of Books, 10 (15 July 1976): 12.

[Review of The Uses of Enchantment by Bruno Bettelheim.]

Bly, Robert. Iron John: A Book About Men. Reading, MA: Addison-Wesley, 1990; New

York: Vintage Books, 1992.

[Bly uses Grimms’ Iron Hans as the basis for his argument on male development in the later 20th century. For a synopsis of Grimms’ story see Basic European Texts. Addressing what he sees as a crisis in American institutions caused primarily by remote fathers who fail to provide definitive processes within the rituals of masculine maturation, Bly analyses the Wild Man in the story as a surrogate father who guides the youth through eight stages of male growth that lead the child toward a vigorous masculinity that is both protective and emotionally responsible. The stages are: 1) The Key and the Pillow; 2) When One Hair Turns Gold; 3) The Road of Ashes, Descent, and Grief; 4) The Hunger for the King in a Time with No Father; 5) The Meeting with the God-Woman in the Garden; 6) To Bring the Interior Warriors Back to Life; 7) Riding the Red, the White, and the Black Horses; 8) The Wound by the King’s Men. The Epilogue is on The Wild Man in Ancient Religion, Literature, and Folk Life.]

Bompas, Cecil Henry. Folklore of the Santal Parganas. London: David Nutt, 1909.

Bond, Alma H. “A Modern Day Psychoanalytic Fable.” In Oral Sadism and the

Vegetarian Personality: Readings from the Journal of Polymorphous Perversity. Ed. Glenn C. Ellenbogen. New York: Ballantine, 1987. Pp. 75-8l.

[A pseudo-Freudian parody of Cinderella psychoanalytical criticism. “Cindy gained enough ego strength from her regression under the auspices of the ego to enable her to return to the genital level and marry the Prince” (p. 59). Both undertake psychoanalysis, Cindy to deal with her splitting compulsion, regression, turning anger against herself, withdrawal, reality denial, oral, anal, and phallic fixations, her masochism, paranoia, homosexual tendencies, and atypical ego development; the Prince to work through his fetishism, homosexuality, passivity, panic states, castration anxiety, difficulty in forming object relations, and compulsive symptomatology.]

Boose, Lynda E. “The Father’s House and the Daughter in It: The Structures of

Western Culture’s Daughter-Father Relationship.” In Daughters and Fathers, Lynda E. Boose and Betty S. Flowers, eds. Baltimore: Johns Hopkins University Press, 1989. Pp. 19-74.

[Considers avoidance, abandonment, and discarding of the daughter in several Cinderella variants, problems powerful enough to necessitate manipulation by the narratives “to shift the textual focus away from the latent father-daughter material and deflect it into a mother-daughter conflict” (p. 31). Considers the “Many Furs” tale along with “Myths of Daughter sacrifice” (pp. 41-42).]

Booss, Claire, ed. Scandinavian Folk and Fairy Tales. New York: Avenel, 1984.

Bordo, Susan. “Reading the Slender Body.” In Unbearable Weight.

Boskind-Lodahl, Marlene. “Cinderella’s Stepsisters: A Feminist Perspective on

Anorexia Nervosa and Bulimia.” Signs, 2:2 (Winter, 1976): 342-356.

[Both anorexia nervosa and bulimia stem from sexual role conflicts usually stemming from a lack of sense of owning their body and its sensations and a hang up on good looks that will make boys go crazy or secure a job. Mothers and their frustrations and ambitions are often factors in the child’s illness along with the child’s fear of rejection. Boskind-Lodahl discusses the psychodynamics of the binge and purge. Most of the author’s patients had never experienced a satisfying love relationship. One factor seems to be the conditions of a male-dominated society where the bulimarexic gives men the power to reject her. Like Cinderella’s stepsisters, who mutilate themselves for a love that can never be, the bulimarexic feels powerless in the hands of traditions and her mother. The psychoanalyst needs to provide positive role models sufficient to counteract the negative experiences in relationships with their dissatisfied mother, thereby helping to alleviate the low self-esteem that is at the root of their problems.]

Boskovic-Stulli, Maja. “Grimms Aufzeichnung des ‘Aschenputtels’ (Pepeljuga) von

Vuk Karadzi?.” Deutsches Jahrbuch fur Volkskunde, 12 (1966): 79-83.

[Discussion of Grimms’ (especially Jacob’s) reaction to a version of Cinderella sent to them ca. 1823 by Serbian folklore collector Vuk Karadizić (Dundes, 1982, p. 309).]

Bosma, Bette. Fairy Tales, Fables, Legends and Myths. New York: Teachers College,

Columbia University Press, 1992.

[A manual of interactive materials in art, music, drama, storytelling, puppetry, and creative writing for teachers.]

Boswell, John. The Kindness of Strangers: The Abandonment of Children in Western

Europe from Late Antiquity to the Renaissance. New York: Pantheon, 1988.

[Practices of abandonment are common in the ancient and medieval world and range from exposure of the baby and the giving over of the child to others to raise to the giving of the child through some contract (e.g., marriage, oblation [giving a child to monastery]) at an early age. Rousseau deposed all five of his children in a foundling home shortly after they born “solely out of regard for their mother.” In the Introduction, Boswell studies practices and attitudes from ancient times through the late Middle Ages, with some attention to eighteenth-century practices.]

Bottigheimer, Ruth B. “Tale Spinners: Submerged Voices in Grimms’ Fairy Tales.”

New German Critique, 27, 1982, pp. 141-150.

[Using vocabulary analysis, Bottigheimer examines the work ethic in the spinning tales and the faint cries of distress and fatigue from the spinning room in the centuries preceding the Grimms’ work. In Boccaccio’s tales, work does not intrude upon the lives of his women. But by the seventeenth century women are hard at it. Two voices are heard, one dissatisfied with archetypically female employment, and the other extolling spinning.]

-----. “Iconographic Continuity in Illustrations of The Goosegirl.” Children’s

Literature, 13 (1985): 49-71.

-----, ed. Fairy Tales and Society: Illusion, Allusion, and Paradigm. Philadelphia:

University of Pennsylvania Press, 1986.

[The volume explores the function of fairy tales in society and the way they are used by or appear to their tellers, their listeners or readers, or society at large. “Walt Disney’s American versions of some of the best-known fairy tales provide an illusion of good and evil which in no way corresponds to the far more subtle surfacing of malevolence in society. He and his animators sketched an equally illusory set of feminine qualities which corresponded to widely held post-World War II notions about femininity” (p. xi). Nineteen essays, including Kay Stone, “Oral Narration in Contemporary North America”; Jerome Clinton, “Madness and Cure in the Thousand and One Nights”; Karen Rowe, “To Spin a Yarn: The Female Voice in Folk-lore and Fairy Tale”; Rudolf Schenda, “Telling Tales — Spreading Tales: Change in the Communicative Forms of a Popular Genre”; Maria Tatar, “Born Yesterday: Heroes in the Grimms’ Fairy Tales”; Ruth Bottigheimer, “Silenced Women in the Grimms’ Tales: The ‘Fit’ Between Fairy Tales and Society in Their Historical Context”; James Fernandez, “Folklorists as Agents of Nationalism: Asturian Legends and the Problem of Identity”; Torborg Lundell, “Gender-Related Biases in the Type and Motif Indexes of Aarne and Thompson”; Steven Jones, “The Structure of Snow White”; Hans-Jorg Uther, “The Encyclopedia of the Folktale”; Anna Tavis, “Fairy Tales from a Semiotic Perspective”; Simon Grolnick, “Fairy Tales and Psychotherapy”; Gerhard Mueller, “The Criminological Significance of the Grimms’ Fairy Tales”; Kay Stone, “Feminist Approaches to the Interpretation of Fairy Tales”; Jack Zipes, “Marxists and the Illumination of Folk and Fairy Tales”; Ranier Wehse, “Past and Present Follkloristic Narrator Research”; Alan Dundes, “Fairy Tales from a Folkloristic Perspective”; Jack Zipes, “The Grimms and the German Obsession with Fairy Tales”; and Heinz Rolleke, “The ùtterly Hessian’ Fairy Tales by ‘Old Marie’: The End of a Myth.”]

-----, ed. Grimms’ Bad Girls and Bold Boys: The Moral and Social Vision of the Tales.

New Haven: Yale University Press, 1987.

Bourboulis, Photeine, “The Bride-Show Custom and the Fairy-Story of Cinderella.”

In P. P. Bourboulis, Studies in the History of Modern Greek Story-Motives. Thessalonike, 1953. Pp. 40-52.

[In Dundes, Cinderella: A Casebook, pp. 98-109. In search of historical origin of the Cinderella narrative, Bourboulis attempts to document imperial bride-shows in Byzantium, Russia, and China, where an emperor, king, or powerful official orders eligible young women to be assembled and displayed so that the “prince” might choose a bride. Bourboulis discusses Chinese practices of binding women’s feet along with the displaying of such beauty. Another implication of the display might be mythic where the “months” are exhibited at Carnival festivals.]

Boyd, Janet L. “’Cinderella’ in the Swamp: Marjorie Kinnan Rawlings’s Fractured

Fairy Tale.” The Marjorie Kinnan Rawlings Journal of Florida Literature, 2 (1988-1990): 1-22.

[Discusses story “Gal Young Un” as a feminist revision of the classic fairytale “Cinderella,” with its strong Oedipal forces. “Rawlings emancipates her Cinderella, Elly, from the traditional fairytale, or Oedipal, narrative by allowing her to return to the pre-Oedipal mother bond Freud says women must abandon” (p. 2). Mattie is at first the evil step-mother, but here the bad and good are found in the same person. Elly in her blue pumps causes jealousy, but gradually Elly turns toward Mattie and accomplishes the most difficult task of all, powerful female bonding, as both women defect from Trax, the princely/unprincely male. The patriarchal foundation cracks, and the women move toward a new conclusion. Instead of mutilating their own feet they mutilate the prince’s “foot.” Though Elly is battered and bruised, Mattie comforts and nurtures her by the fire and feeds her starving body. Rather than abandoning the mother bond à la Freud, they reclaim it.]

Bradbury, Nancy Mason. “Meeting aims to find brain’s benchmarks for beauty.”

Nature, 421 (2003): 305-313.

[Summary of a convention at University of California, Berkeley, designed to explore “clues to the neurological basis of taste.” Although the methods of New Criticism that claimed to have a handle on valid criteria in the assessment of art and the beautiful have been “rigorously critiqued … and in some cases abandoned, the aesthetic preferences it engendered continue to flourish” (p. 305.]

Bremond, Claude. “The Morphology of the French Fairy Tale: The Ethical Model.” In

Patterns in Oral Literature, eds. Heda Jason and Dimitri Segal. The Hague: Mouton de Gruyter, 1977. Pp. 49-76.

[Uses Propp’s methods to identify three primary functions (rather than Propp’s thirty one) of French Fairy Tales: 1) the movement from deterioration to improvement; 2) from merit to reward, and 3) from unworthiness to punishment. In most functions the characters are both acting and being acted upon. Examines twenty-seven tales, including Cinderella types, which exemplify and reveal the complexities of the threefold pattern.]

Brewer, Derek. “The Battleground of Home: Versions of Fairy Tales.” Encounter,

(April 1980): 52-61.

[Review article on Bettelheim, The Uses of Enchantment; Propp, Morphology of The Folktale; Ann Wilson, Traditional Romance and Tale; and Luthi, Once Upon a Time. Noting the tendency of people to reject modern work on fairy tales as too primitive, weak in subject matter, and feeble in manner of proceeding, Brewer makes a case for the power of symbolic structures within the stories. He uses the Cinderella over several hundred years in three versions, along with Beauty and the Beast, to define the richness of such literature. Male protagonists offer different patterns of maturation, witness Puss in Boots. The family drama which is the basis of fairy tale is at the center of many traditional tales, as in the Oedipus story, the story of David and Saul, or the Arthurian stories. Brewer considers Shakespeare’s use of fairy tale materials, particularly King Lear.]

-----. Symbolic Stories: Traditional Narratives of the Family Drama in English

Literature. Cambridge: Brewer, 1980; Totowa, N.J.: Brewer/Rowman and Littlefield, 1980.

[Brewer’s Introduction considers the inner currents of successful narrative — the parable within — as the teller introduces localizations to make myth more vivid to a current audience. Interest lies in a story’s relatedness, the configuration between its parts and its audience. Considers gendered patterns for protagonists within particular societies, using Cinderella as example (p. 9). Considers rites de passage in terms of psychological and religious demands on the protagonist. Chapter one ("Fairy Tales") discusses components of various Cinderella narratives, particularly as they pertain to family structures (pp. 16-32), and uses Desdemona to illustrate unattractive components of a Cinderella myth. Considers Cinderella’s wanton dirtiness and makes distinctions between her story and what the author really means. “If we look at [Perrault’s] story of Cinderilla in a modernistic way we shall naturally come to the conclusion that she is not by any means really so good and beautiful as we are told she is. We have already been able to deduce on a good literalistic evidence that she is stupid. She must be spiteful and ugly as well, really. This may lead us to reconsider the character of the stepmother. The Narrator tells us that she was ‘the proudest and most haughty woman that ever was known’. But we have already found reason to suppose that we are not meant to take the Narrator’s word at its face-value” (p. 18). Similarly, Gawain, in Sir Gawain and the Green Knight, is a fool, and so too Griselda, in Chaucer’s Clerk’s Tale. “Every healthy mind at every period has a need to register what it feels to be real, and equally a need to accommodate stories, our fundamental imaginative activity, to that perceived reality” (p. 20). Brewer considers ways in which the stepmother is a variant of the mother, and both, along with the stepsisters, components of Cinderella’s self-realization. “The switch of the stepsisters from allies of the mother-figure to allies of the protagonists illustrates the fluidity of images in the fairy tale, controlled as they are by the needs of the pattern” (p. 23). Considers also Hearth Cat Cinderellas, Chinese versions, Catskin, and Rashin Coatie Cinderellas. Ch. V discusses the Story of Gareth (Malory), which also involves Cinderella variations.]

Bricout, Bernadette. “La Belle sous la cuve. Cendrillon dans la tradition orale.” In

Langue et Littérature Orales dans l’Ouest de la France. Angers: Presses de l’Universite, 1983. Pp. 45l-465.

[Older-sisters-should-marry-first custom.]

Briggs, Katharine M. A Dictionary of British Folk-Tales in the English Language.

2 vols. Bloomington: Indiana University Press, 1970.

[Precises of hundreds of examples of Fables and Exemplary Tales and Fairy Tales (vol. I) and Jocular Tales, Novelle, and Nursery Tales (vol. II). “Folk narrative is folk fiction told for edification, delight and amusement; folk legend was once believed to be true” (p. 1).]

-----. An Encyclopedia of Fairies: Hobgoblins, Brownies, Bogies and Other

Supernatural Creatures. New York: Pantheon, 1976.

Brooks, Peter. Reading for the Plot: Design and Intention in the Narrative. New York:

Alfred A. Knopf, 1984.

[Plot is the logic/syntax of a kind of discourse that develops through temporal sequence and progression, a way of negotiating problems of temporality, time-boundedness, and consciousness of existence within the limits of mortality. The book focuses on modern narrative theory. Brooks uses Grimms’ “All-Kinds-of-Fur” as a model for dissecting plot components (pp. 7-23). Ch. 10: Fictions of the Wolf Man: Freud and Narrative Understanding” (pp. 264-285) reconsiders the case of Sergei P--, to explore interconnections between culture and fiction, a man representative of aristocratic culture (or who shaped himself that way) in his madness, being analyzed by one of the great plot makers, and who at the end of his life in the 1970s writes his own biography, a plotting exercise through the temporalities of nearly a century of Europe’s most bizarre history. Brooks assesses Freud’s detective fictions and Wolfman’s aristocratic fetishes for servant girls along with the passions for origins and end points as well as mutilation (pun on SP [espe] and wespe, the wasp with its wings torn off) and the modernist yearning to organize life in terms of myth for explanatory and justificatory master plots — ailing princes, strong serving girls, and lots of yearning. The concluding chapter on Endgames and the Study of Plot considers the artificiality of closure and the trope that healthy is well-constructed, neurotic incoherent. The successfully transacted ending warrants a passing-on.]

Brotherston, Gordon. “The Zuni Cinderella.” Latin American Indian Literatures Journal:

A Review of American Indian Texts and Studies, 2 (1986): 110-126.

[Discusses syncretism, man’s kinship with nature expressed through fairy tale and dance.]

-----. “Cinderella Between Mapuche and Zuni.” In Book of the Fourth World: Reading

the Native Americans Through Their Literatures. Cambridge: CUP, 1992. Pp. 332-339.

[Argues that the Native American Cinderella stories are originally imported variants of “Cenicienta,” Spanish adaptations of Perrault’s “Cendrillon.” In Pre-Columbian Native American tales, the hero would be male, an Ash Boy figure. Tales of an Ash Girl (e.g. the Mapuche Cinderella or the Zuni Turkey Girl) took well to their new environment, however, and have become ingeniously localized. “Transformed to the Fourth World, she fully enters her body, her species in nature, and her community. She inhabits a historical landscape and knows the rhythms of time according to which a moon or a morning may recapitulate the world” (p. 339).]

Brown, Janet, and Pamela Loy. “Cinderella and Slippery Jack: Sex Roles and Social

Mobility Themes in Early Musical Comedy.” International Journal of Women’s Studies, 4 (19): 507-516.

[Examines gender social tropology in the 369 musical comedies performed in New York City between 1900-1920. The most prevalent plot is that of Cinderella, where poor girl meets rich boy and after obstacles, complications, and musical numbers, marries him in the final scene. Women rise by hard work and virtue. With the men luck is a more important factor. For both genders, modest deceit and basic honesty are simultaneously valued. The productions aim at weary businessmen to reassure them of success over ethnic threats or systematic oppression. Fear and hostility toward recent immigrants are expressed by laughter at their incompetence in the new world. The musicals mingle social reality with psychological wish-fulfillment to create a dream world in which every anxiety is allayed and every need fulfilled.]

Brown, Marian E. “Three Versions of A Little Princess: How the Story Developed.”

Children’s Literature in Education, 19 (1988): 199-210.

[In addition to discussing the development of A Little Princess as a Cinderella narrative, Brown considers Burnett’s own life as itself a kind of Cinderella story.]

Brumberg, Joan Jacobs. “Anorexia Nervosa in Context.”

Bryant, Sylvia. “Re-Constructing Oedipus through ‘Beauty and the Beast.’”

Criticism, 31, 1989, pp. 439-453.

[Examines the predetermined sexist components of the Oedipal plot in Cocteau’s Beauty and the Beast and juxtaposes them with the myth-breaking components of Angela Carter’s “The Courtship of Mr. Lyon” and “Tiger’s Bride.” The Oedipal traditions which read experience only through masculine desire “must be subverted, those stories must be retold.”]

Buchan, J. “The Novel and the Fairy Tale.” In Children and Literature: Views and

Reviews. New York: Scott, Foresman, 1973.

[First published in 1931. Stresses reversal of fortune as key component of Cinderella figure, the disaster usually occurring within the family, precipitating testing and maturing of the Cinderella figure, perhaps with the guidance of a godmother figure.]

Buchler, Ira R. and Henry A. Selby. A Formal Study of Myth. Center for Intercultural

Studies in Folklore and Oral History Monograph Series No. l. Austin, Texas, 1967.

[Considers the relevance of directed graph theory to analysis of mythical variants; mythical functions, threshold effects, and constraints on information processing; Lévi-Strauss’s views on history in terms of measures of selective information; the relationship of algorithms and recursive function theory to theoretical issues in the study of myth; and a mapping of structural mythology onto the theoretical grid of generative grammar.]

Bulger, Peggy A. “The Princess of Power: Socializing Our Daughters Through TV,

Toys, and Tradition.” The Lion and the Unicorn: A Critical Journal of Children’s Literature, 12 (1988): 178-192.

[Discusses sex role socialization through mass media and marketing by big toy industries, particularly Mattel, who created in 1984 She-Ra, The Princess of Power. Considers the “Superwoman Syndrome” that plagues today’s working mothers. The Superwoman Syndrome draws extensively on folklore in creating its illusions. The dolls and toys are created by adults for adult consumers. The messages from contemporary “faddish” world of manufacturers and media advertisers are often confusing as they vacillate between passive femininity and the active role of super-heroine. “Although much has been made concerning the new ‘equality’ of women, little girls continue to play in traditional roles. In many ways this fact is comforting: a balanced view of personality includes both male and female. An ‘equality’ for women has most often been envisioned in terms of male attributes. The more ‘masculine’ a woman becomes, the more likely it is that she will be ‘equal.’ In reality, sexual equality will come only when women’s strengths and attributes are valued as highly as men’s, when nurturing and assertion are shared by both sexes” (p. 191).]

Burke, Billie. With Powder on My Nose. New York: Billie Burke and Cameron Shipp, 1959.

[On conventions of dress and cosmetics in the 50s.]

Bushnaq, Inea, trans. Arab Folktales. New York: Pantheon, 1986.

Cabral, Elena. “Respecting Differences: A New Video Project Helps Children Counter

Racism.” Ford Foundation Report (Spring, 1995): 12-16.

[Considers Sue Sevel’s second grade class at Martin Luther King, Jr. Elementary School, where a videotape series entitled Different and the Same is used to raise sensitivity on racial issues. Actor Cedric Young plays a school librarian discussing children’s feelings of being left out of images in fairy tales like Cinderella when confronted with the arbitrary rule that “only blond, blue-eyed girls can play Cinderella” (p. 13).]

Callendar, Marilyn Berg. Willa Cather and the Fairy Tale. University Microfilms, 1988.

[Considers Song of the Lark as a Cinderella narrative.]

Calvino, Italo. Introduction to Italian Folktales, selected and retold by Italo Calvino,

translated by George Martin. New York: Harcourt, Brace, Javanovich, 1980.

[“Taken all together, they offer, in their oft-repeated and constantly varying examinations of human vicissitudes, a general explanation of life preserved in the slow ripening of rustic consciences; these folk stories are the catalogue of the potential destinies of men and women, especially for that stage in life when destiny is formed, i.e., youth, beginning with birth, which itself often foreshadows the future; then the departure from home, and, finally, through the trials of growing up, the attainment of maturity and the proof of one’s humanity. This sketch, although summary, encompasses everything: the arbitrary division of humans, albeit in essence equal, into kings and poor people; the persecution of the innocent and their subsequent vindication, which are the terms inherent in every life; love unrecognized when first encountered and then no sooner experienced than lost; the common fare of subjection to spells, or having one’s existence predetermined by complex and unknown forces. This complexity pervades one’s entire existence and forces one to struggle to free oneself, to determine one’s own fate; at the same time we can liberate ourselves only if we liberate other people, for this is a sine qua non of one’s own liberation. There must be fidelity to a goal and purity of heart, values fundamental to salvation and triumph. There must also be beauty, a sign of grace that can be masked by the humble, ugly guise of a frog; and above all, there must be present the infinite possibilities of mutation, the unifying element in everything: men, beasts, plants, things” –pp xviii-xix.]

Campbell, Joseph. The Hero with a Thousand Faces. New York: Bollingen Foundation,

1949; rpt. Cleveland: A Meridian Book, 1956.

[Though Campbell’s subject is primarily masculine, heroic, and macrocosmic as opposed to fairy tale, domestic, and microcosmic (he makes no mention of Cinderella), various paradigms of the hero’s dreams and adventures that he traces find parallels in Cinderella stories — afflicted childhoods, the call for adventure, the crossing of thresholds, fleeting appearances in public with feats of skill, the magic flight, venturing forth from the common world into a world of wonder, alienation and obscurity, exile or struggle in the belly of the whale, encounters with the monstrous but also with animal helpers and signs of divine intervention in support of virtue, the brutal functions of mutilation, rescue from without, return to a public role despite tensions between private and public dreams, the privilege of becoming master of two worlds, revelation and the freedom to live, a happy ending as transcendence of tragedy, etc.]

-----. The Way of the Animal Powers. Vol. I of The Historical Atlas of World Mythology.

New York: Harper and Row, 1984.

Campbell, Marion. “Fearful Asymmetry: Three Ways of Deriding Difference.”

Australian Journal of Cultural Studies, 1 (1983): 181-188.

[Discusses a current Australian riddle on the Cinderella theme that imposes symmetry “as guarantee of phallologocentric control” (p. 183). Ques.: “What is the perfect Cinderella?” Ans: “A shiela who fucks and sucks until midnight and then changes into a pizza and a 6-pack” (p. 185). “This labouring Cinderella not only produces a surplus which will restore the male somatic capital, she must learn absolute redundancy when midnight strikes: she must ‘change into something more comfortable’ for the pack of six. She who would eat will be eaten, she who would drink will be drunk” (p. 186). One aspect of the riddle “is the pleasure it seems to want to exhibit in combining markers of cultural difference into the one act of derision … [It] imposes formal symmetry while displaying the pleasure and anxiety of asymmetry” (p. 187).]

Cancian, Francesca M. Love in America: Gender and Self- Development. New York:

Cambridge University Press, 1987.

[Considers the conflict between traditional family structures and its prescriptions for love and contemporary patterns of limited commitments between independent individuals focused on self-development, and a third option now emerging in popular culture of enduring love combined with self-development. The book considers the history of love, feminized love and its costs, and androgynous love conducive to self-development, marriage, and families.]

Canham, Stephen. “What Manner of Beast? Illustrations of ‘Beauty and the Beast.’”

In Image & Maker: An Annual Dedicated to the Consideration of Book Illustration. Ed. Harold Darling and Peter Neumeyer. La Jolla: Green Tiger Press, 1984.

Caplan, Pat, ed. The Cultural Construction of Sexuality. London: Tavistock, 1987.

[Ten essays on gender construction and various forms of social intervention in shaping attitudes toward sex and sexuality within a variety of societies.]

Caplan, Paula J. The Myth of Women’s Masochism. Toronto: University of Toronto

Press, 1993.

[A debunking of Freud’s myth that women are inherently masochistic. Chapters on “Why do you do this to yourself?” “What the ‘experts’ have said,” “Mothers,” “The Child’s Growth toward ‘Masochism’: ‘Expert” Opinion and Reality,” “Women in Relationships with Men,” “Women’s Bodies,” “Women as Victims of Violence,” “Women at Work,” “Women in Therapy,” “The Beginning.” Sixteen page bibliography.]

Carlile, V. Dodd. Under the Fairy Tale Tree. Hawthorne, New Jersey: Educational

Impressions, Inc., 1993.

[Ten fairy tales using whole language approach and Bloom’s Taxonomy. Cinderella activities, pp. 52-59.]

Carson, Jo. “Being from the Place I’m from.” The American Voice, 17 (Winter 1989): 96-

101.

[Reflections from Rome on living in Johnson City, near the Blue Ridge, and being a writer. Tells story of her mother, shoe size 7 and 1/2 C, forcing her feet into 9 AAA, thereby deforming the bones in her feet the way Chinese women do. She was convinced that short wide feet caused by going barefoot were a sign of poor mountain ignorants, and that to get out of Kyles Ford, Tennessee, her only hope was to change her feet. “She convinced herself that she had long narrow aristocratic feet and she bought shoes that proved it whether they fit or not” (p. 97).]

Carter, Angela. “Ashputtle: or, the Mother’s Ghost.” In Disorderly Conduct: The

“VLS” [Voice Literary Supplement] Fiction Reader. Ed. M. Mark. New York: Serpent’s Tail, 1991. 54-62.

[In three parts: 1) The Mutilated Girls, a reading of Grimms’ Ashenputtel to suggest a drama between two female families in opposition, animated solely by the wills of the mothers — a story of cutting bits off women so that they will fit in. Were the stepmothers’ daughters the father’s natural daughters, which would make the speedy marriage and the stepmother’s hostility more probable? Ashputtle is driven by the dove, spirit of her mother, who pecks at her ear to make her dance; the stepmother wields the knife over her daughters — daughters subdued by “both awe and fear at the phenomenon of mother love” (p. 58) — while the dove points out the bloody wounds. The bloody shoe is a hideous receptacle: “Ashputtle’s foot, the size of the bound foot of a Chinese woman; a stump. Already an amputee, she put her foot in it.” The turtledove triumphs while the mad mother stands by impotently. Ashputtle’s foot fits the shoe like a corpse fits a coffin. “See how well I look after you, my darling!” 2) The Burned Child, a retelling of the charred, scabbed, and scarred girl, growing fat on the milk of the cow, growing breasts, wanting the man for herself, sucking the cow dry, shedding her mutilated skin, combing her hair with the cat’s claws until the cat is maimed but the child clean but stark naked, until the bird in the tree pierces its breast and spills down blood to give the child a red silk dress, and the girl goes into the kitchen, all lovely, catches the eye of the man, who leaves the stepmother behind to stir the ashes while he gives the lovely girl a house and money. “She did all right,” and the ghost of the mother sleeps okay. 3) The Traveling Costume tells of the stepmother burning the orphan’s face with a hot poker for not stirring the ashes enough, the girl weeping over her mother’s grave, the mother coming to the girl at night, giving her a red dress — “I had it when I was your age, I used it for traveling”(p. 61). The mother takes worms from her eye sockets which turn to jewels — “sell them as you need to” (p. 62) — and invites the orphan into the coffin, which turns into a coach and horses. “Now go and seek your fortune, darling.”]

Case, Sue-Ellen. “Towards a Butch-Femme Aesthetic.” Discourse: Journal for

Theoretical Studies in Media and Culture, 7 (1988-1989): 55-73.

Casen, Jill H. “Exploring Collective Symbols.” Pacific Sociological Review, 22 (1979): 348-

381.

Cass, Joan E. Literature and the Young Child. London: Longmans, 1967.

[A discussion of what children two to seven or eight want and enjoy and how best to satisfy their pleasure in books by selecting those which possess qualities they like.]

Chambers, Aidan. “The Reader in the Book.” In Booktalk; Occasional Writing on

Literature and Children. Bodley Head, 1985. 34-58.

[Explores issues of child as reader to encourage criticism by children in such matters as point of view, style, taking sides, and the identification of tell-tale gaps.]

Chapkis, Wendy. Beauty Secrets: Women and the Politics of Appearance. Photos by

Gon Buurman. Boston: South End Press, 1986.

[Portraits of twenty-four women (first names only) who don’t fit or choose to conform to the usual cultural beauty standards. Considers racism, body shapes, the role of class and economics in shaping images of beauty, the pressures for conformity, and the role of “outlaws” in America.]

Chase, Richard. The Jack Tales: Folk Tales From the Southern Appalachians.

Illustrated by Berkeley Williams, Jr. Boston: Houghton, Mifflin, 1943.

[Fifteen tales told by R. M. Ward and his kindred in the Beech Mountain section of Western North Carolina and by other descendants of Council Harmon (1803-1896) elsewhere in The Southern Mountains; with three tales from Wise County, Virginia. Appendix compiled by Herbert Halpert.]

-----. Grandfather Tales. Boston: Houghton, Mifflin, 1948.

[See Modern Children’s Editions for synopses.]

-----. American Folk Tales and Songs. New York: Dover, 1971.

Chénetier, Marc. “Metamorphoses of the Metamorphoses: Patricia Eakins, Wendy

Walker, Don Webb.” New Literary History, 23 (1992): 383-400.

[Discusses Walker’s Cinderella and Beauty and the Beast transformations and the prominence of Ovid and metamorphoses in writings of the past decade.]

Children’s Literature: The Great Excluded. Vol. 3. Philadelphia: Temple University

Press, 19.

Chinen, Allen B. “Fairy Tales and Transpersonal Development in Later Life.” Journal

of Transpersonal Psychology 17, no. 2 (1985): 99-122.

[What happens in the “ever after” when the Prince turns fifty or the Princess is widowed? Only about 2% of the 2500 fairy tales in published collections feature older protagonists. Most elder tales come from Eastern sources — Japan, India, Arabia, and Russia. Rather than follow Jung and others who usually consider the elderly as archetypes of spirit, Chinen views elderly protagonists as representatives of the ego and individuality. He analyzes the Japanese tale “Princess Moonlight,” noting the passivity typical of elder tales. Other tales exemplify the problems of self-confrontation. In elder tales the protagonist often learns to see through illusion. Emancipated maturity offers a unique state of innocence, a spiritual illumination. The protagonist requires a sturdy ego to survive ill-tempered encounters. Often it is necessary to retrace earlier psychological stages, almost going backwards. “Regression” emancipation can be rewarding, like reclaiming lost land, as the protagonist becomes proficient in interpretation of developmental symbols.]

-----. “Fairy Tales and Spiritual Development in Later Life: The Story of the Shining

Fish.” In Handbook of the Humanities and Aging. Ed. Thomas R. Cole, David Van Tassel, and Robert Kastenbaum. New York: Springer, 1992. Pp. 197-214.

[Includes excellent bibliography on aging, psychology of the elderly, and psychotherapy for the aged with a special focus on uses of fairy and folk tales.]

-----. Once Upon A Midlife: Classic Stories and Mythic Tales to Illuminate the Middle

Years. Foreword by Roger Gould, M.D. New York: Jeremy P. Tarcher/Pedigree Books, 1993.

[A book about what happens when the prince goes bald and the princess has a midlife crisis. Sixteen midlife tales, with commentary on the insights they contain. Juxtaposes the education of the difficult people with the Grimms’ portrayal of the stepsisters’ fate (pp. 50-51) and Cinderella’s “waiting-for-a-prince” syndrome with midlife emancipation in tales like “The Wife Who Became King” (pp. 54-73). Considers components of Oedipal conflict in Cinderella stories as key component in midlife crises for both men and women (pp. 122-126).]

-----. “Adult Cognitive Development: The Case of Alfred North Whitehead.” In

Beyond Formal Operations: Vol. 3. Models and Methods in the Study of Adolescent and Adult Thought. Ed. M. L. Commons, C. Armon, L. Kohlberg, F. A. Richards, T. Grotzer, and J. Sinnott. New York: Praeger, 1993.

Chodorow, Nancy. The Reproduction of Mothering: Psychoanalysis and the

Sociology of Gender. Berkeley: University of California Press, 1978.

[Part I: Seeing the Problem: Mothering and the Social Organization of Gender, with considerations of why women mother, the argument from nature and from role-training, and psychoanalysis and sociological inquiry into the matter. Part II: The Psychoanalytic Story, with considerations of early psychological development, natal dependence and narcissism, primary love, beginnings of self and the growth of object love, the effects of early mothering, the maternal role, gender differences in the pre-Oedipal period, mother-daughter relationships, development of notions of femininity, Oedipal relations with mother, their resolution and replay with discussion of the post-Oedipal gender personality and bias in Freud. Part III: Gender Personality and the Reproduction of Mothering, with considerations of the sexual sociology of adult life, family and economy, mothering, masculinity, and capitalism and the psychodynamics of the family — Oedipal asymmetries and heterosexual knots, gender personality, etc.]

Christiansen, Reidar Th. “Cinderella in Ireland.” Bealoideas, 20 (1952): 96-107.

[“A sophisticated survey of the Irish version by one of Norway’s leading comparativists” –Dundes 1982, p. 309. Christiansen considers 27 Cinderella variants, summarizing the functions of the lot. All five of the redactions of the Cinderella novel described by Anna Brigita Rooth are represented in Ireland. “There is, in other words, no standard Irish Cinderella-story, neither can Irish variants have a common source. They form a definite West-European traditional group, where, as in other groups, a probably extremely complicated network of influences is the background” (p. 101). There are some Irish Cinderellas akin to those of Spain and Italy not found in England or Scotland. And Scandinavian versions likewise appear in Ireland, versions found also in Iceland.]

Christian-Smith, Linda K. Becoming a Woman through Romance. London & New York:

Routledge, 1990.

[A study in the readership, economics, and influence of adolescent romance novels and teen magazines as they shape the emotional needs of girls age 10-16 in American culture and their understanding of what a woman should be. An interesting study of the rise of the New Right and the expression of white middle class gender ideology and tension within the class.]

Cinderella and the Papermakers. Pickpockets, No. 8. Hastings, East Sussex:

Pickpockets, 1991.

[A booklet presenting Cinderella iconography used by papermakers in their watermarks. For description of the booklet, see the entry under Miscellaneous Cinderellas.]

“Cinderella: Walt Disney’s Greatest Star.” The Entertainment section of Quick News

Weekly (April 24, 1950): 48-51.

[Quick was a 65-70 page weekly from Cowles Magazines, publishers of Look and Flair, in a 4” x 6” format; the magazine sold for 10 cents. The cover of this issue shows Disney accompanied by images of Cinderella in ball gown and working garb. The “quick” essay of c. 300 words places Cinderella in a context of Mickey Mouse, Donald Duck, and Snow White, including images of each along with six frames of Disney’s villainous Lucifer on the prowl. “A hundred years from now historians won’t remember the Rudolph Valentinos or the Jean Harlows of the motion picture industry. But they will remember Walt Disney and Mickey Mouse” (p. 48). And they will remember his Cinderella. “Walt has a mind exactly like a motion-picture projector. You can practically see the frames click off in his brain” (pp. 49-50).]

Clark, Alice. The Working Life of Women in the Seventeenth Century. London, 1919;

rpt. London: Frank Cass, 1968.

[Discusses the shift from “family industry” to capitalized “domestic industry” and the movement of production out of the home.]

Clarke, Anthony H. “Al primer vuelo: Contribuciones al estudio de una Cenicienta;

Conferencias del Seminario sobre Jose Maria de Pereda, U.I.M.P., verano de 1983.” In Nueve lecciones sobre Pereda. Ed. Benito Madariaga de la Campa. Santander, Spain: Inst. Cultural de Cantabria, 1985. Pp. 135-158.

[Explores Cinderella figures in Spanish literature.]

Clover, Carol J. Men, Women. and Chain Saws: Gender in the Modern Horror Film.

Princeton: Princeton University Press, 1993.

[Suggests that the “low tradition” in horror movies possesses positive subversive potential, a space to explore gender ambiguity and transgress traditional boundaries of masculinity and femininity.]

Cobbett, William. Advice to Young Men, and (Incidentally) to Young Women, in the

Middle and Higher Ranks of Life. London: Mills, Jowett, and Mills, 1829.

Coffin, Tristram Potter. The Female Hero in Folklore and Legend. New York: Seabury,

1975.

[Considers heroines and what defines them from Barbara Fritchie and Cleopatra to Guinevere, Eleanor of Aquitaine, Mata Hari, Belle Starr, Sarah Bernhardt,and Lydia Pinkham — as Hollywood and legend defined them.]

Cohen, Rina. “Cinderella in the House: Definitions and Management of Deprivation

Feelings Among Non-White Domestics.” Dissertation Abstracts International, 47, May 1987, 4194.

[Dissertation in Sociology, York University, Toronto. Cohen interviewed 50 non-white women who work as live-in domestics in Toronto. Deprivation feelings among domestics are bidimensional, contractual, and personal-maternal, and reflect the duality of their role as “family” workers. Deprivation feelings are stronger among younger, less religious, better educated and better-off domestics. Although relatively powerless, domestics are capable of acting upon and reinterpreting work situations.]

Collier, Mary Jeffery. “The Psychological Appeal in the Cinderella Theme.” American

Imago, 18 (1961): 399-406.

[Surveys thirty-two college women on the appeal of Cinderella to them as children and then as young adults. For the respondents, in their childhood, Cinderella’s winning of the prince’s love and her triumph over the stepsisters seems to have satisfied vicariously libidinal and aggressive needs. Cinderella is a child who gets big quickly and establishes ego-control. She is as good as she is beautiful and eventually masters her reality and gratifies her own impulses. In their adult life the respondents preferred Perrault’s version as a feminine Horatio Alger. The most admired qualities from the adult perspective were her capacity for wish-fulfillment, her mastery of self and environment, her triumph over her stepmother, and her beauty, clothes, and equipment.]

Colwell, Eileen H. “Folk Literature: An Oral Tradition and an Oral Art.” In Virginia

Haviland, Children and Literature: Views and Reviews. Glenview, IL: Scott, Foresman, 1973.

Cook, Elizabeth. The Ordinary and the Fabulous. Cambridge: Cambridge University

Press, 1969.

[Cinderella is a story about “the stripping away of the disguise that conceals the soul from the eyes of others” (as cited by Yolen, 1977). It is not simply a rags-to-riches story, or one of wish-fulfillment by magic, but rather a story of “trial, recognition, and judgement” (p. 105).]

Cook, Sharon, and Jean Rusting. Jouanah: A Hmong Cinderella. Teacher’s Guide.

Arcadia, CA.: Shen’s Books and Supplies, 1996.

[Includes an Introduction to the Hmong, remarks on the authors and illustrator, prereading activities, and reading materials on the story. Study sheets include grammar and punctuation exercises, graphic organizers, poems, proverbs and sayings, reader’s theater, math exercises, Hmong textile designs, Hmong folktales, writing assignments, exercises on the clarification of values, and bibliography on Hmong literature and Cinderella and Asian variants. For synopsis of Jouanah, see Modern Children’s Editions: Asian.]

Cooper, Susan. Review of Womenfolk and Fairytales, by Rosemary Menard.

NYTBR (April 13, 1975): 8.

Coote, Henry Charles. “Catskin: The English and Irish Peau D’Ane.” Folk-Lore Record,

3:1 (1880): 1-25.

[Suggests a solar interpretation of several Indo-European catskin/donkeyskin tales. Tale of Catskin mentioned in Goldsmith’s Vicar of Wakefield, Coote thinks, is indicative of an original and native version. Identifies Irish and English versions, which he summarizes. Though different in detail, both have the same motive, which Coote relates to similar tales in the Himalayas, France, Italy, Spain, Germany, Russia, Lithuania, Greece, and Albania, which he summarizes. Sometimes the girl flees in a bear skin, skins of many animals, pigskin, or coat of wood, rushes or gourd skin, but always taking other dresses with her. Coote reconstructs a tale of Aryan prehistory in which the gowns are the dresses of Aurora--luminous states of the heavens where the moon, stars, and rising sun are seen. The abusive cook is akin to Vedic monsters of the night, types of its dangers and inflictions. The removal of the deforming disguise is “the full apparition of the lovely dawn of the south, when all darkness has disappeared” (p. 23).]

Corn, Alfred. Book Review of Marina Warner’s From the Beast to the Blonde: On

Fairy Tales and Their Tellers. The Nation, 20 Nov. 1995.

[“Often despised as silly or grotesque, fairy tale is the Cinderella among literary forms, going so much further than its humble origins seemed to promise and providint us with many sharply outlined archetypes and clichéd metaphors (like the Cinderella analogy in this very sentence)” (p. 612).]

Cosquin, Emmanuel. “La Pantoufle de Cendrillon dans l’Inde.” Revue des Traditions

Populaires, 28 (1913): 241-269.

[“A discussion of “shoes” (customs and beliefs) in India, taking as a point of departure Andrew Lang’s remark that Cinderella could not have originated in a shoeless country. Cosquin, a comparativist committed to the idea that many European fairytales originated in India, demonstrates the existence of shoes in India but has difficulty in citing a complete Cinderella text (as opposed to individual motifs or traits) from that area” — Dundes, Cinderella: A Casebook, p. 310.]

-----. “Le ‘Cendrillon’ Masculin.” Revue des Traditions Populaires, 33 (1918): 193-202.

[Discusses “Le conte turc de Constantinople” as a male Cinderella narrative, with puns in the hero’s surname on poverty and cinders, the isolating death of the parent, his having two older brothers, his demeaning labors, his leaping into action, his trials at a place remote from which he must make some sort of deliverance. Cosquin lays out comparable components in narratives from Hungry, Ireland, Russia (the Baba Yaga encounter, etc.), and compares typology of the male Cinderella with female typology. The hero may be a strong man, though not necessarily one who must endure restraint. The influence of the paternal tomb is likely to be a factor, comparable to the tomb of the mother in the female narratives, along with reincarnations of the parental influence in supportive animal forms, as in versions from Indo-China, Portugal, Italy, Norway, Sweden, and Russia.]

-----. “Cendrillon sur la Tombe de sa Mère.” Revue des Traditions Populaires, 33 (1918): 202-233.

[Discusses help Cinderella receives from her dead mother, noting parallels with Grimms’ Frau Holle tale and kind and unkind girl analogues.]

-----. “Une Variante de ‘Cendrillon’ et un Episode de ‘Dame Holle.’” Revue des

Traditions Populaires, 33 (1918): 243-253.

[Further discussion of interconnections between Cinderella and Frau Holle.]

-----. Les Contes Indiens et l’Occident. Paris, 1922.

[A princess marries the prince who saved her from a giant. She loses her shoe in a pond. A king finds the shoe and would marry its mistress. He kills the prince through magic and abducts the princess. A brother appears, breaks the magic, restores the prince to life and frees the princess (p. 48).]

Courtes, Joseph. “De la description à la spécificité du conte populaire merveilleux

francais.” Ethnologie francaise, 2 (1972): 9-42.

[Semiotic analysis of linguistic variations in French versions of Cinderella.]

-----. “Une lecture semiotique de ‘Cendrillon.’” In Joseph Courtes, Introduction à la

sémiotique narrative et discursive: méthodologie et application. Paris: Hachette, 1976. Pp. 109-138.

[Analysis of sixteen French versions of Cinderella “demonstrating how oppositional patterning through mediation makes the tale a model of marriage relations” — Dundes, Cinderella: A Casebook, p. 310.]

Coward, Rosalind. Female Desires: How They are Sought, Bought, and Packaged.

London: Paladin Books, 1984; New York: Grove Press, 1985.

[A collection of essays about pleasure-things women enjoy, things women are said to enjoy, and things women are meant to enjoy and don’t. In five parts: The Look (considering such things as feeling good and looking great, being fashionable, having the body beautiful, pouts and scowls, and ideal homes); The Mouth (considering such things as being a sweetheart, kissing, food pornography, eating together, and the organ itself); The Voice (considering such things as what’s between us, talking things through, song, and mass media);\ The Story (such as soap operas like “The Royals,” the true story of how I became my own person, the story of overwhelming desire, and women’s as opposed to men’s fantasies); and The Instinct (with reflections on the sex-life of stick insects, affairs of the heart, men’s bodies, the wrapping of sex in cultural meanings, prescriptions and constraints); with an epilogue on desire, mainly a collection of observations about what women are.]

Cox, Marian Roalfe. Cinderella: Three Hundred and Forty-Five Variants of Cinderella,

Catskin, and Cap o’Rushes, Abstracted and Tabulated. Introduction by Andrew Lang. Publications of the Folk-Lore Society. Vol. 31. London: David Nutt, 1893; rev. 1897.

[The classic study of its kind, including source and concise sketch of each variant. A monumental work. Anna Brigitta Rooth, The Cinderella Cycle, below, brings the count of variants to about seven hundred.]

-----. “Cinderella.” Folk-lore, 18 (1907): 191-208.

[Synopses of some twenty more variants, mostly from Scandinavia, with bibliographical information on others appearing since her initial monograph. Includes King Ingevall’s Daughter, The Girl who got meat and clothes in the Mound, The Girl and the Cow, Mette Wooden-hood, Shaggy-cloak, The Crowbill-cloak, Two versions of The bride by chance, Fur-cloak, Little Mary in the Wooden-gown, A Danish saga of an orphan lady trapped by circumstance, The buried Princess, The Crow-cloak, The stepdaughter and the right daughter, Thousand-cloak, Crow-cloak, Pelsarubb (Fur-robe), Crowbill-cloak, The two Princesses, Tale of a little kitchen wench. The bibliography focuses on German and Scandinavian scholars working on Cinderella ca. 1890-1905.]

Crago, Hugh. “The Roots of Response.” Children’s Literature Association Quarterly, 10

(1985): 100-104.

[Considers parental reading to children as founded in a “helping mode,” a “child-centered,” empathetic stance normally set within ideal circumstances. In such situations the child interacts with literature “under the most favorable possible conditions, with positive feedback (adult enthusiasm for the story, etc., which elicits mediated responses from the child. Taste is embedded in a context of relationship and performance, but it may be independent of the parent as the child listener reaches a developmental stage where he or she is able to make a secure self/other distinction and re-enact complementary roles within the story and the event, paired opposites, and so on.]

Crane, Thomas Frederick. Italian Popular Tales. Boston: Houghton, Mifflin, 1885.

Cunningham, M. R. “Measuring the physical in physical attractiveness: quasi-

experiments on the sociobiology of female facial beauty.” Journal of Personality and Social Psychology, 50 (1986): 925-935.

Cunningham, M. R., A. R. Roberts, C. H. Wu, A. P. Barbee, and P. B. Druen. “Their

ideas of beauty are, on the whole, the same as ours: consistency and variability in the cross-cultural perception of female physical attractiveness.” Journal of Personality and Social Psychology, 68 (1995): 261-279.

Curtin, Jeremiah. Myths and Folk Tales of Ireland. Boston: Houghton, Mifflin, 1890.

Cushing, Frank Hamilton. Zuni Folk Tales. With a Foreword by J. W. Powell and an

Introduction by Mary Austin. New York: Alfred A. Knopf, 1901.

[Includes “The Poor Turkey Girl.”]

Dan, Ilana. “The Innocent Persecuted Heroine: An Attempt at a Model for the

Surface Level of the Narrative Structure of the Female Fairy Tale.” In Patterns in Oral Literature. Ed. Heda Jason and Dimitri Segal. The Hague: Mouton Publishers, 1977. Pp. 13-30.

[Using twenty of Propp’s functions to develop her argument, Dan analyses seventeen texts of innocent persecuted heroines, including the AT 510 Cinderella type. “The female fairy tale tends towards the sacred legend: the marvelous helper, in almost all texts, is an agent of