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The stories in the Grimm brothers' 'Kinder- und Hausmärchen', first published in 1812 and 1815, have come to define academic and popular understandings of the fairy tale genre. Yet over a period of 40 years, the brothers, especially Wilhelm, revised, edited, sanitised, and bowdlerised the tales, publishing the seventh and final edition in 1857 with many of the sexual implications removed. However, the contributors in 'Trangressive Tales' demonstrate that the Grimms and other collectors paid less attention to ridding the tales of non-heterosexual implications.

\"Most people know the stories of Snow White and Sleeping Beauty, but very few know that behind the Brothers Grimm and their fairy tales stood a network of sisters -and mothers, neighbors, and female fr\".

Grimm Language addresses a number of issues in the Grimms' fairy tales from a (Germanic) linguist's point of view. In sections dealing with the Grimms' use of regional dialect material, various grammatical constructions, and specific nouns and adjectives in their Children's and Household Tales, the author argues that the Grimms were consciously or unconsciously following a number of objectives. These included reinforcing the overall Germanic impression of the tales (though we now know that many of them had French inspiration), striking the right balance between archaic and colloquial language to arrive at an ideal narrative style for what was arguably a new genre, and promoting or at least reflecting stereotypes concerning the proper roles for boys and girls. The book will be of interest not only to those interested in fairy tales, and the Grimms' in particular, but also more generally to those interested in the intersection between linguistics and literary scholarship.

The pioneering work of Jacob Grimm and Wilhelm Grimm in the areas of Germanic comparative and historical linguistics, lexicography, philology, and medieval studies places them squarely among the most important figures in the history of the language sciences. The contributions to this volume present a fascinating and timely reevaluation and reaffirmation of the significance of the Grimm Brothers' work in these areas, all of which the Grimms viewed as necessary components in their search for the essence of the German and Germanic Volksgeist.

Das Handbuch dokumentiert erstmals sämtliche zu Lebzeiten der Brüder Grimm erschienenen Märchen und verortet sie in ihrem kulturhistorischen Umfeld.Jedes Märchen ist unter Einbeziehung der wichtigsten internationalen Forschungsliteratur ausführlich kommentiert.

Forests have a long history in the literary and folktale tradition. In this article, I approach the multifaceted representation of forests in Italo Calvino's Fiabe italiane and its intertextual connections. I highlight several functions of forests through the analysis of one tale type, that is Calvino's \"Pulcino\" (no.130), known to the wider public through \"Hansel and Gretel\". Here, forests are both imbued with national identity and are a space outside of civilization. Drawing from material ecocriticism, I argue that they are also a repository of symbiotic relationships between humans and nonhumans and an enchanted site of storied matter.

The production of fairy tales depends on political interests. The tales' regimes of production and anticipated reception condition their inscribed ideological inclinations and erasures. I examine how Kinder- und Hausmärchen by the brothers Grimm contributed to nation-building and, focusing on \"Hansel and Gretel,\" how the changing regimes of production required omissions in the translations of the Grimms' tales into Slovenian. I argue that the sui generis appropriation of the tale titled \"Janko and Metka\" by the writer France Bevk helped build a socialist nation. Finally, the article comments on some issues in capitalist regimes of fairy-tale production.

This essay explores how non-Anglophone versions of the Cinderella story are used to affirm or challenge certain colonial or imperial ideals that were carried by canonical Eurocentric children's texts circulated during the Golden Age of children's literature. Examining two specific Philippine versions of Cinderella that were initially produced during the American colonial period (1898-1946) in the Philippines demonstrates that children's literature—particularly texts imported by colonial educators as well as texts produced by local writers—was a site of contestation and creation. This analysis focuses on how these adaptations were used as a tool for colonial expansion and education, but at the same time, were adapted to suit the search for a Philippine national identity.

Gothic and sexual elements are embedded within both Charles Perrault’s and the Brothers Grimm’s tellings of “Little Red Riding Hood”. When popular culture turned to fairy tales from the late 20th century forward, reimagining them as gothic tales for adults, “Little Red Riding Hood” provided a particularly rich setting. In particular, these adaptations exploited the false binaries within these tales while making more visible the sexual abuse and recovery encoded in the narratives. This essay will first explore the particular gothic qualities within this tale, as well as the shapeshifting nature of the four characters. After establishing how the figure of Red, as well as her motifs, are key to ensemble fairy-tale narratives, I will examine adaptations that directly explore the sexuality and agency of a young woman, as she resists both predators and her family legacy. However, the last section will note that monstrosity, like victimization, can be resisted. Overall, this essay interrogates contemporary film and television adaptations of this tale, with a particular interest in the messages of recovery and agency in these new versions.