Catalogue Search | MBRL
Are you sure you want to remove the book from the shelf?
{{itemTitle}}
54
result(s) for
"Stepsisters."
Sort by:
Monica and the bratty stepsister
Dealing with a little stepsister is never easy, but Monica has her hands full with Angela, and nothing will ever go right when she tags along.
Book
Rival Sisters and Vengeance Motifs in the \contes de fées\ of d'Aulnoy, Lhéritier and Perrault
[...]scholars have also pointed out the dubious manner in which the conteuses are serving women's interests, especially considering the submission of the heroines to a male code, and the taming of female desire according to typical male views of female nature-all points which mark the morals attached to the end of almost every narrative, or else the conventional ending with a marriage.1 Although I share in general the position of those more cautious feminist critics who emphasize the fact that the women's literary contes de fées reveal \"simultaneous resistance to and complicity with patriarchal constructions of gender identities\" (Seifert, \"Female Empowerment\" 28) in this article I will continue to explore the elements of subversion in order to demonstrate the process of the redefinition of femininity in the female-penned fairy tales and the extent to which the characters described by Mme d'Aulnoy and Mlle Lhérititer exhibit a psychology comparable with that of late seventeenth-century novels and dramatic texts. The character's first name, \"Finette,\" suggests that d'Aulnoy was also familiar with the L'Adroite Princesse (already published in 1696) by Marie-Jeanne Lhéritier de Villandon, the niece of Charles Perrault. [...]in composing her Finette Cendron, d'Aulnoy combines two separate Perrault tales (Le Petit Poucet and Cendrillon), and employs some psychological characteristics of Lhéritier's heroine in her portrayal of Finette.
Journal Article
Monica and the weekend of drama
When her mother cannot find a babysitter for the weekend, thirteen-year-old Monica is left in charge of the house and her stepsister Angela, with disastrous results.
Book
Follow me into the dark
\"Kate and Gillian are stepsiblings, each bearing two generations' worth of mental illness and cruelty. One is an obsessive-compulsive baker, the other an oversexed hyper-intellectual. Emotionally stunted adults, they live separate, brittle lives. But they converge when Jonah, Gillian's beloved brother and a murder suspect, introduces himself to Kate. As Jonah continues his unannounced visits, and a string of murders plagues the county, Kate can't seem to stop wondering which sibling her mother loved most.\"-- Provided by publisher.
Book
Feminist Frauds on the Fairies? Didacticism and Liberation in Recent Retellings of \Cinderella\
Engaging Dickens's essay \"Frauds on the Fairies\" (1853), which attacked George Cruikshank's didactic moral retellings, this article interrogates the liberating potential of feminist rewritings. Can feminist revisions commit a fraud on the fairies by transforming tales into didactic narratives? What exactly makes an effective revision and for what audience? We examine three contemporary authors who take on this challenge. Barbara Walker duplicates classical tales by adding women into the standard, formal structure of the tale, thus reinforcing limited notions of gender. By doing so, she may destroy the integrity of the tales and commit the very fraud on the fairies that Dickens argued against. Still, there may be audience pleasures in these formulaic tales that cannot be dismissed entirely. We then examine retellings by Francesca Lia Block and Emma Donoghue to suggest how feminist and aesthetic concerns concomitantly transform fairy tales into liberatory ones.
Journal Article
Cinderella
\"A funny and contemporary retelling of a classic children's fairy tale based on the award-winning app\"--Page 4 of cover.
Book
Sister Acts
Reconsidering songs from musicals from the 1950s to the 1970s, O'Farrell investigates the songs that structured the sororal relation as an envious one for her and for her sisters understanding this task as both autobiographical and cultural. She suggests that cultural evidence of envy's organization of sisterhood is elsewhere and everywhere to be found.
Journal Article