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Index
- Wayne State University Press
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Index Ackerman, Forrest J., 223 adult fairy tales, 4, 11, 38 Adventures of Eulalie at the Harem of the Grand Turk (Carter), 148 American Ghosts and Old World Wonders (Carter), 263, 294–96 American Gothic, reception in France, 224–25 Angela Carter and the Fairy Tale (Roemer and Bacchilega), 12 “Animals in the Nursery” (Carter), 81 “Apologie des Femmes” (Perrault), 125–26 Armitt, Lucie, 293 art, as means of knowing the world, 20–21 “Art of Horrorzines, The” (Carter), 223–24 “Aschenputtel” (Grimm brothers), 265, 267, 274–75, 289, 292 “Ashputtle or The Mother’s Ghost” (Carter): in American Ghosts, 284–85, 287–88, 294–96; analyses of, 345n33; “The Burned Child” in, 288–93, 297–98; caution against conformity to the norm, 293–94; complicity of female gender with circumstances of oppression, 285–86; as corrective to translation, 269–70; double focus on Ashputtle and her mother, 267–68, 285; father’s absence in, 277; focus on women’s obsession with marriage, 276, 278; influence of Grimm brothers’ “Aschenputtel,” 289; initial publication of, 263; “The Mutilated Girls” in, 275–76, 290–93; pumpkin-kin pun, 287; starting point for rewriting, 286–87; as three versions of one story, 263–64; “Travelling Clothes” in, 290, 292, 294, 297 Atwood, Margaret, 301 “Aufgabe des Übersetzers, Die” (Benjamin ), 4 Authentic Mother Goose Fairy Tales and Nursery Rhymes, The (Barchilon), 14 Bacchilega, Cristina, 12, 97–98, 109, 289 “Barbe bleue, La” (Perrault), 111–13, 129, 134, 135 Barber of Seville (Mozart), 163 Barchilon, Jacques, 11–14, 43, 78 Barrett Browning, Elizabeth, 264 Barthes, Roland, 1, 106 Bassnett, Susan, 4, 7, 300 Batten, John D., 46, 175–76 Baudelaire, Charles, 29, 149 Beast, literary and graphic representations of, 243–47, 244, 252–54 beastliness, women’s complex relations with, 228 Beast stories as transitional texts, 230–34 Note: Italicized page numbers indicate illustrations. 364 index Beaumarchais, Pierre, 19, 162–63, 183–84, 328–29n32 Beaumont, Jeanne-Marie Leprince de: contes translated by Carter, 227–28, 335n3; contribution to fairy-tale literature , 66–68, 229–30; doubling and ambiguities in texts by, 228; on Eve as God’s ultimate achievement, 231–32; “La Belle et la Bête,” 249–50, 255; literary merits of prose by, 233–34; use of fairy tale by, 65; views on education , 231–32; women and power of metamorphosis in tales by, 257 Beauty (fairy-tale character), 68, 250–52 “Beauty and the Beast” (Beaumont, trans. by Carter): as beast-marriage story, 228; in Bloody Chamber collection, 18–19; characterization of Beauty in, 250–52; Christian moralizing replaced by ability to develop a generous heart, 254–55; context for, 65–68; metamorphosis of Beast into Prince Charming, 255; modernization of cultural references to education, 248–49; moral recti fied in, 229; as occasion to question man-made divisions, 258; in Sleeping Beauty collection, 250; stories inspired by, 227; text simplification in, 248 Beauty and the Beast (Lamb), 241 Beauty and the Beast story: early reception in England, 232, 241–42 beauty-surprised-in her-sleep motif, 194 Beckett, Sandra, 71 “Belle au bois dormant, La” (Perrault), 190, 194–95, 200, 205–7, 219–20, 222–24 “Belle et la Bête, La” (Beaumont), 227–28, 249–50, 255 Belle et la Bête, La (Cocteau film), 227, 242, 337n23 Benjamin, Walter, 4, 30 Benson, Stephen, 12, 294, 306n29, 344n29 Berger, John, 137–38 Bettelheim, Bruno, 73, 270–71, 288, 293, 339n35 “The Better to Eat You With” (Carter), 25, 41, 44, 76, 85–86, 161–62, 272 Bhabha, Homi K., 7, 299 “Black Venus” (Carter short story), 297, 323n40 blood motif, 71–77, 81, 101–2, 109, 111, 278–79 “Bloody Chamber, The” (Carter short story): Bluebeard character in, 123, 139; bride as subject and object, 154–55; bride’s appropriation of narrative and visual power, 141–42; bride’s conditioning to submit to power of husband, 137, 151; bride’s sexual initiation, 146–47; bride’s visit to bloody chamber, 152–53; critique of mythologies in, 155; fairy-tale archaeology in, 110; femininity myths questioned, 136–37; fin de siècle culture in, 139–40; idea of physical repulsion and sexuality, 124; investigation of dominant representational modes in European culture, 138; key motif of, 29; Marquis’s art gallery and library, 147–51; Medusa reference, 135–36; mirror motif, 112–13, 142–43; misogynistic bias critiqued in, 140; reading experience created in, 110–11; sociopolitical subtext exploration, 128; symbolic killing of women into art, 140–41; symbolist...