Teaching Fairy Tales edited by Nancy L. Canepa brings together scholars who have contributed to the field of fairy-tale studies since its origins. This collection offers information on materials, critical approaches and ideas, and pedagogical resources for the teaching of fairy tales in one comprehensive source that will further help bring fairy-tale studies into the academic mainstream. The volume begins by posing some of the big questions that stand at the forefront of fairy-tale studies: How should we define the fairy tale? What is the ""classic"" fairy tale? Does it make sense to talk about a fairy-tale canon? The first chapter includes close readings of tales and their variants, in order to show how fairy tales aren't simple, moralizing, and/or static narratives. The second chapter focuses on essential moments and documents in fairy-tale history, investigating how we gain unique perspectives on cultural history through reading fairy tales. Contributors to chapter 3 argue that encouraging students to approach fairy tales critically, either through well-established lenses or newer ways of thinking, enables them to engage actively with material that can otherwise seem over-familiar. Chapter 4 makes a case for using fairy tales to help students learn a foreign language. Teaching Fairy Tales also includes authors' experiences of successful hands-on classroom activities with fairy tales, syllabi samples from a range of courses, and testimonies from storytellers that inspire students to reflect on the construction and transmission of narrative by becoming tale-tellers themselves. Teaching Fairy Tales crosses disciplinary, historical, and national boundaries to consider the fairy-tale corpus integrally and from a variety of perspectives. Scholars from many different academic areas will use this volume to explore and implement new aspects of the field of fairy-tale studies in their teaching and research.

In offering this book to what we hope will be interested readers, we have several aspirations. We have aspired to present to students and clinicians a rather narrow view of epidemiology concentrating on the causal factors and setting of the more usual gastroenterological problems and giving greater space to conditions of importance for which major knowledge of causation andcourse is available. Part of the rationale is thebelief that modern medicine lays excessive emphasis on therapy with increasingly expensive, and in many cases, dangerous drugs and too little emphasis on the causes and avoidance of disease. We are of the view that traditional views handed st down through generations of clinicians need scrutiny worthy of 21 century medicine whose currency includes topics like nanomoles, megabytes and logistic regression. We hope that clinicians will see that there is often a practical application to the findings of epidemiological exploration and that what passes for canonical knowledge is so often unsubstantiated myth and are fully aware of the reluctance of organized medicine to reject old paradigms in favor of the new, matched by an often uncritical enthusiasm for new therapies. Our researches have increased our belief in the major role of social factors especially diet, both in quantity and quality in many disorders and that clinicians have a responsibility to provide appropriate advice to policy makers as well as patients.

Women Writing Wonder: An Anthology of Subversive Nineteenth-Century British, French, and German Fairy Tales is a translation and critical edition that fills a current gap in fairy-tale scholarship by making accessible texts written by nineteenth-century British, French, and German women authors who used the genre of the fairy tale to address issues such as class, race, and female agency. These shared themes crossed national borders are due to both communication among these writers and changes in nineteenth-century European societies that similarly affected women in Western Europe. In effect, the combined texts reveal a common, transnational tradition of fairy tales by women writers who grapple with gender, sexual, social, and racial issues in a post-French Revolution Europe. The anthology provides insight into the ways the fairy tale served as a vehicle for women writers-often marginalized and excluded from more official or public genres-to engage in very serious debates. Women Writing Wonder, divided into three parts by country, features tales that depict relationships that cross class and racial divides, thus challenging normative marriage practices; critically examine traditional fairy-tale tropes, such as ""happily ever after"" and the need for a woman to marry; challenge the perception that fairy-tale collecting, editing, and creation was male work, associated particularly with the Grimms; and demonstrate the role of women in the development of the emerging field of children's literature and moral tales. Through their tales, these women question, among other issues, the genre of the fairy tale itself, playing with the conventional fairy-tale narrative to compose their proto-feminist tales. By bringing these tales together, editors and translators Julie L. J. Koehler, Shandi Lynne Wagner, Anne E. Duggan, and Adrion Dula hope both to foreground women writers' important contributions to the genre and to challenge common assumptions about what a fairy tale is for scholars, students, and general readers.

How have the fairy tales of different cultures changed over the centuries? What do they tell us about our fears and hopes? In a work that spans 2,500 years these ambitious questions are addressed by over 50 experts, each contributing their overview of a theme applied to a period in history. With the help of a broad range of case material they illustrate broad trends and nuances of the fairy tale in Western culture from antiquity to the present. Individual volume editors ensure the cohesion of the whole, and to make it as easy as possible to use, chapter titles are identical across each of the volumes. This gives the choice of reading about a specific period in one of the volumes, or following a theme across history by reading the relevant chapter in each of the six. The six volumes cover: 1 – Antiquity (500 BCE to 800 CE); 2 – Medieval Age (800 to 1450); 3 – The Age of the Marvelous (1450 to 1650); 4 – The Long Eighteenth Century (1650 to 1800); 5 – The Long Nineteenth Century (1800 to 1920); 6 – The Modern Age (1920 to the present). Themes (and chapter titles) are: Forms of the Marvelous; Adaptation; Gender and Sexuality; Humans and Non-Humans; Monsters and the Monstrous; Spaces; Socialization; and Power. The page extent for the pack is approximately 2,000pp. Each volume opens with Notes on Contributors and an Introduction and concludes with Notes, Bibliography, and an Index. The Cultural Histories Series A Cultural History of Fairy Tales is part of The Cultural Histories Series. Titles are available as hardcover sets for libraries needing just one subject or preferring a tangible reference for their shelves or as part of a fully-searchable digital library. The digital product is available to institutions by annual subscription or on perpetual access via www.bloomsburyculturalhistory.com . Individual volumes for academics and researchers interested in specific historical periods are also available in print or digitally via www.bloomsburycollections.com.

In offering this book to what we hope will be interested readers, we have several aspirations. We have aspired to present to students and clinicians a rather narrow view of epidemiology concentrating on the causal factors and setting of the more usual gastroenterological problems and giving greater space to conditions of importance for which major knowledge of causation andcourse is available. Part of the rationale is thebelief that modern medicine lays excessive emphasis on therapy with increasingly expensive, and in many cases, dangerous drugs and too little emphasis on the causes and avoidance of disease. We are of the view that traditional views handed st down through generations of clinicians need scrutiny worthy of 21 century medicine whose currency includes topics like nanomoles, megabytes and logistic regression. We hope that clinicians will see that there is often a practical application to the findings of epidemiological exploration and that what passes for canonical knowledge is so often unsubstantiated myth and are fully aware of the reluctance of organized medicine to reject old paradigms in favor of the new, matched by an often uncritical enthusiasm for new therapies. Our researches have increased our belief in the major role of social factors especially diet, both in quantity and quality in many disorders and that clinicians have a responsibility to provide appropriate advice to policy makers as well as patients.

Teaching Fairy Tales edited by Nancy L. Canepa brings together scholars who have contributed to the field of fairy-tale studies since its origins. This collection offers information on materials, critical approaches and ideas, and pedagogical resources for the teaching of fairy tales in one comprehensive source that will further help bring fairy-tale studies into the academic mainstream. The volume begins by posing some of the big questions that stand at the forefront of fairy-tale studies: How should we define the fairy tale? What is the ""classic"" fairy tale? Does it make sense to talk about a fairy-tale canon? The first chapter includes close readings of tales and their variants, in order to show how fairy tales aren't simple, moralizing, and/or static narratives. The second chapter focuses on essential moments and documents in fairy-tale history, investigating how we gain unique perspectives on cultural history through reading fairy tales. Contributors to chapter 3 argue that encouraging students to approach fairy tales critically, either through well-established lenses or newer ways of thinking, enables them to engage actively with material that can otherwise seem over-familiar. Chapter 4 makes a case for using fairy tales to help students learn a foreign language. Teaching Fairy Tales also includes authors' experiences of successful hands-on classroom activities with fairy tales, syllabi samples from a range of courses, and testimonies from storytellers that inspire students to reflect on the construction and transmission of narrative by becoming tale-tellers themselves. Teaching Fairy Tales crosses disciplinary, historical, and national boundaries to consider the fairy-tale corpus integrally and from a variety of perspectives. Scholars from many different academic areas will use this volume to explore and implement new aspects of the field of fairy-tale studies in their teaching and research.

Women Writing Wonder: An Anthology of Subversive Nineteenth-Century British, French, and German Fairy Tales is a translation and critical edition that fills a current gap in fairy-tale scholarship by making accessible texts written by nineteenth-century British, French, and German women authors who used the genre of the fairy tale to address issues such as class, race, and female agency. These shared themes crossed national borders are due to both communication among these writers and changes in nineteenth-century European societies that similarly affected women in Western Europe. In effect, the combined texts reveal a common, transnational tradition of fairy tales by women writers who grapple with gender, sexual, social, and racial issues in a post-French Revolution Europe. The anthology provides insight into the ways the fairy tale served as a vehicle for women writers-often marginalized and excluded from more official or public genres-to engage in very serious debates. Women Writing Wonder, divided into three parts by country, features tales that depict relationships that cross class and racial divides, thus challenging normative marriage practices; critically examine traditional fairy-tale tropes, such as ""happily ever after"" and the need for a woman to marry; challenge the perception that fairy-tale collecting, editing, and creation was male work, associated particularly with the Grimms; and demonstrate the role of women in the development of the emerging field of children's literature and moral tales. Through their tales, these women question, among other issues, the genre of the fairy tale itself, playing with the conventional fairy-tale narrative to compose their proto-feminist tales. By bringing these tales together, editors and translators Julie L. J. Koehler, Shandi Lynne Wagner, Anne E. Duggan, and Adrion Dula hope both to foreground women writers' important contributions to the genre and to challenge common assumptions about what a fairy tale is for scholars, students, and general readers.

To the uninitiated, the films of French New Wave director Jacques Demy can seem strange and even laughable, with their gaudy colour schemes and sung dialogue. Yet since the late 1990s, a generation of queer filmmakers in France have found new inspiration in Demy's cinema. In this volume, author Anne E. Duggan examines Jacques Demy's queer sensibility in connection with another understudied characteristic of his oeuvre: his recurrent use of the fairy tale. In Queer Enchantments: Gender, Sexuality, and Class in the Fairy-Tale Cinema of Jacques Demy, Duggan demonstrates that Demy uses fairy-tale devices to explore and expand the identity categories of his characters, while he broadens the possibilities of the genre of the fairy tale through his cinematic revisions. In each chapter, Duggan examines how Demy strategically unfolds, challenges, and teases out the subversive qualities of fairy-tale paradigms. In chapter 1, Duggan reads Demy's Lola and The Umbrellas of Cherbourg through the lens of ""Cinderella"" and ""Sleeping Beauty,"" while in chapter 2, she explores Demy's revision of Charles Perrault's ""Donkey Skin"" from the particular angle of gay aesthetics. In chapter 3, Duggan situates Demy's rendition of The Pied Piper in relation to a specifically Franco-American tradition of the legend, which thus far has not received critical attention. Finally, in Chapter 4, she examines the ways in which Demy's Lady Oscar represents the undoing of the figure of the maiden warrior. An epilogue reads Demy's fairy-tale cinema as exemplary of the postmodern tale. Duggan shows that Demy's cinema heightens the inherent tensions and troubles that were already present in fairy-tale texts and uses them to illustrate both the constraints and utopian possibilities of the fairy tale. Both film and fairy-tale studies scholars will enjoy Duggan's fresh look at the distinctive cinema of Jacques Demy.