Notes
NOTES 1. For an important scholarly and ideological critique of Ely's books see the chapter "Spreading Myths About Iron John" in Jack Zipes's Fairy Tale, as Myth/Myth asFairy 7"ale along with the reviews he cites. 2. Throughout this book my locus is narrative; therefore, when I refer to "folklore and literature" I am actually considering the limited field of folk and literary narrativerelations. Myeffort and purpose are to place the study of these narratives within their cultural context, with particular attention to gender ideology. 3. "Twice Upon One Time," the second chapter of Nancy A. Walker's study The Disobedient Writer: Women and Narrative Tradition, perceptively discusses women writers' revisions of fairy talcs in the nineteenth and twentieth centuries. While "folklore and literature" is not her framework and my object of study is much narrower than hers, I perceive a strong affinity between our projects. Walker perceptively analy/es feminist appropriations of biblical, fair)' tale, specifically American, and autobiographical narratives; her effort to foreground each disobedient writer as an "astute reader of narratives— both literary and cultural—that tell persistent stories about her" (172) makes for a compelling example of intertextual and culturally relevant work. 4. Other book-length studies have been significant: see Stewart's Nonsense : Aspects of Intertextuality in Folklore and Literature, Stahl's Literary Folkloristics and the Personal Narrative, and Rosenberg's Folklore and Literature. Rival Siblings. Particularly relevant are essays such as Preston's "'Cinderella ' as a Dirtyjokc"; Rocmcr's "Graffiti as Story and Act"; and Mark Workman's insightful work from the 1987 "The Serious Consequences of Ethnic Humor in Portnoy's Complaint" to the most recent "Folklore and the Literature of Exile." Works important to such intertextual approaches have been the 1957 Journal of American Folklore "Folklore and Literature: A Symposium"; Mary Ellen B. Lewis, "The Study of Folklore and Literature: An Expanded View"; Alan Dundes, "Texture, Text, and Context"; Richard Bauman, Story, Performance, andEvent; FredricJameson, "Magical Narratives:On the Dialectical Use of Genre Criticism"; Italo Calvino, "Cybernetics and CHAPTER ONE 148 Notes to Pages 6-12 Ghosts"; Joan N. Radner and Susan Lanser, "The Feminist Voice: Strategies of Coding in Folklore and Literature" in Feminist Messages; (Catherine Young and Barbara Babcock's special issue of the Journal of American Folklore on Bodylort. 5. For a concise and informative study of the fair)' tale's (.hematics and a significant bibliographical essay, see Steven Swann Jones, The Fairy Tale. 6. Among Zipes's many books on the fairy talc are also Fairy Tales and the Art, of Subversion (1983), Don't Bel on the Prince (1986), The Brothers Grimm (1988), and the collection Spells of Enchantment (1991). Ruth B. Bottigheimer's 1986 edited collection of essays, Fairy Tales and Society, and her gender study (Grimms' Bad Girls & Bold Boys (1987) have also contributed to the social history of the fairy tale. Maria Tatar's books, especially Off With Their Heads!, develop a substantive critical analysis of fairy tales as powerful narratives of punishment and reward. 7. The concept of "desire machine" appeals to me because it foregrounds the work that goes into producing a genre and its social effects: it assumes Teresa de I.auretis's understanding of genres and genders as "technologies," discourses (logos) producing (tcchne) representations of story and (wo) man; it is also a playful allusion to Angela Carter, The Infernal Desire Machines of Dr. Hoffman. 8. Zipes acknowledges the dynamic interaction of mythic and antimythic fair)' tales, and that is what interests me too; in addition, I would argue with Walter Benjamin that the articulation or conflict of different ideologies within individual tales is inevitable and that, thus, the anti-tale is implicit in the well-made tale itself ("The Storyteller"). 9. Zipes applies Roland Barthes's definition of "myth" to the fairy talc and emphasi/cs its naturalizing, dehistoricizing, "free/ing" effects. See Zipes, Fairy Tale as Myth/Myth as i'airy Tale and Barthes, Mythologies. 10.1 am referring to a masculine protagonist here because I am following Luthi's lead. 11. In TheFairy Tale as Art Form Liithi also quotes from Eliade's "Les savants et les contcs de fees." 12. Liithi cites from Eliade's Rites and Symbols of Initiation. I develop this argument more in detail and in specific relation to the sub-genre of "The Innocent Persecuted Heroine" fairy tale in Western Folklore. 13. Stone provides an excellent typology of feminist criticism of fairy tales. Recently, folklorists like Satu Apo and Christine...
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