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.

Examines pantomime and theatricality in nineteenth-century histories of folklore and the fairy tale. In nineteenth-century Britain, the spectacular and highly profitable theatrical form known as ""pantomime"" was part of a shared cultural repertoire and a significant medium for the transmission of stories, especially the fairy tales that permeated English popular culture before the advent of folklore study. Rowdy, comedic, and slightly risque, pantomime productions were situated in dynamic relationship with various forms of print and material culture. Popular fairy-tale theater also informed the production and reception of folklore research in ways that are often overlooked. In Staging Fairyland: Folklore, Children's Entertainment, and Nineteenth-Century Pantomime, Jennifer Schacker reclaims the place of theatrical performance in this history, developing a model for the intermedial and cross-disciplinary study of narrative cultures. The case studies that punctuate each chapter move between the realms of print and performance, scholarship and popular culture. Schacker examines pantomime productions of such well-known tales as ""Cinderella,""""Little Red Riding Hood,"" and ""Jack and the Beanstalk,"" as well as others whose popularity has waned-such as ""Daniel O'Rourke"" and ""The Yellow Dwarf."" These productions resonate with traditions of impersonation, cross-dressing, literary imposture, masquerade, and the social practice of ""fancy dress."" Schacker also traces the complex histories of Mother Goose and Mother Bunch, who were often cast as the embodiments of both tale-telling and stage magic and who move through various genres of narrative and forms of print culture. Theoretically informed and methodologically innovative, these examinations push at the limits of prevailing approaches to the fairy tale across media. They also demonstrate the degree to which perspectives on the fairy tale as children's entertainment often obscure the complex histories and ideological underpinnings ofspecific tales. Mapping the intermedial histories of tales requires a fundamental reconfi guration of our thinking about early folklore study and about ""fairy tales"": their bearing on questions of genre and ideology but also their signifying possibilities-past, present, and future. Readers interested in folklore, fairy-tale studies, children's literature, and performance studies will embrace this informative monograph.

The Routledge Pantomime Reader is the first anthology to document this entertainment genre-one of the most distinctive and ubiquitous in nineteenth-century Britain. Across ten different shows, readers witness pantomime's development from a highly improvisational venue for clowning, dance, and musical parody to a complex amalgamation of physical and topical comedy, stage wizardry, scenic spectacle, satire, and magical mayhem. Combining well-known tales such as "Cinderella", "Aladdin", and "Jack and the Beanstalk" with the lesser-known plotlines of "Peter Wilkins" and "The Prince of Happy Land", the book demonstrates not only how popular narratives were adapted to the current moment, but also how this blend of high and low entertainment addressed a whole range of social and cultural anxieties. Along with carefully annotated scripts, readers will find detailed introductions to all of the collected pantomimes and supplementary materials such as reviews, reminiscences, and a host of visual materials that bring these neglected entertainments to life. The plays collected here provide a remarkable perspective on the history of sexuality, class, and race during a period of vast imperial expansion and important social upheaval in Britain itself-essential reading for students and scholars of theatre history and popular performance.

Examines pantomime and theatricality in nineteenth-century histories of folklore and the fairy tale. In nineteenth-century Britain, the spectacular and highly profitable theatrical form known as ""pantomime"" was part of a shared cultural repertoire and a significant medium for the transmission of stories, especially the fairy tales that permeated English popular culture before the advent of folklore study. Rowdy, comedic, and slightly risque, pantomime productions were situated in dynamic relationship with various forms of print and material culture. Popular fairy-tale theater also informed the production and reception of folklore research in ways that are often overlooked. In Staging Fairyland: Folklore, Children's Entertainment, and Nineteenth-Century Pantomime, Jennifer Schacker reclaims the place of theatrical performance in this history, developing a model for the intermedial and cross-disciplinary study of narrative cultures. The case studies that punctuate each chapter move between the realms of print and performance, scholarship and popular culture. Schacker examines pantomime productions of such well-known tales as ""Cinderella,""""Little Red Riding Hood,"" and ""Jack and the Beanstalk,"" as well as others whose popularity has waned-such as ""Daniel O'Rourke"" and ""The Yellow Dwarf."" These productions resonate with traditions of impersonation, cross-dressing, literary imposture, masquerade, and the social practice of ""fancy dress."" Schacker also traces the complex histories of Mother Goose and Mother Bunch, who were often cast as the embodiments of both tale-telling and stage magic and who move through various genres of narrative and forms of print culture. Theoretically informed and methodologically innovative, these examinations push at the limits of prevailing approaches to the fairy tale across media. They also demonstrate the degree to which perspectives on the fairy tale as children's entertainment often obscure the complex histories and ideological underpinnings ofspecific tales. Mapping the intermedial histories of tales requires a fundamental reconfi guration of our thinking about early folklore study and about ""fairy tales"": their bearing on questions of genre and ideology but also their signifying possibilities-past, present, and future. Readers interested in folklore, fairy-tale studies, children's literature, and performance studies will embrace this informative monograph.

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.

Fairy tales and folktales have long been mainstays of children's literature, celebrated as imaginatively liberating, psychologically therapeutic, and mirrors of foreign culture. Focusing on the fairy tale in nineteenth-century England, where many collections found their largest readership, National Dreams examines influential but critically neglected early experiments in the presentation of international tale traditions to English readers. Jennifer Schacker looks at such wondrous story collections as Grimms' fairy tales and The Arabian Nights in order to trace the larger stories of cross-cultural encounter in which these books were originally embedded. Examining aspects of publishing history alongside her critical readings of tale collections' introductions, annotations, story texts, and illustrations, Schacker's National Dreams reveals the surprising ways fairy tales shaped and were shaped by their readers. Schacker shows how the folklore of foreign lands became popular reading material for a broad English audience, historicizing assumed connections between traditional narrative and children's reading. The tales imported and presented by such British writers as Edgar Taylor, T. Crofton Croker, Edward Lane, and George Webbe Dasent were intended to stimulate readers' imaginations in more ways than one. Fairy-tale collections provided flights of fancy but also opportunities for reflection on the modern self, on the transformation of popular culture, and on the nature of "Englishness." Schacker demonstrates that such critical reflections were not incidental to the popularity of foreign tales but central to their magical hold on the English imagination. Offering a theoretically sophisticated perspective on the origins of current assumptions about the significance of fairy tales, National Dreams provides a rare look at the nature and emergence of one of the most powerful and enduring genres in English literature.