This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.
Perrault's Fairy Tales was originaly written in 1697 by Charles Perrault. He was a French author and member of the Académie française. He laid the foundations for a new literary genre, the fairy tale, with his works derived from pre-existing folk tales. The Thirty Four Illustrations by Gustave Dore from the 'Volume Les Contes de Perrault Dessins' by Gustave Dore, 1867. The best known of his tales include Le Petit Chaperon rouge (Little Red Riding Hood), Cendrillon (Cinderella), Le Chat Botté (Puss in Boots) and La Barbe bleue (Bluebeard). Many of Perrault's stories were rewritten by the Brothers Grimm, continue to be printed and have been adapted to opera, ballet (such as Tchaikovsky's The Sleeping Beauty), theatre, and film (Disney). Perrault was an influential figure in the 17th century French literary scene, and was the leader of the Modern faction during the Quarrel of the Ancients and the Moderns.
This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.
Histoires ou contes du temps passé, avec des moralités or Contes de ma mère l'Oye (Stories or Tales from Past Times, with Morals or Mother Goose Tales) is a collection of literary fairy tales written by Charles Perrault, published in Paris in 1697. The work became popular because it was written at a time when fairy tales were fashionable amongst aristocrats in Parisian literary salons. Perrault wrote the work when he retired from court as secretary to Jean-Baptiste Colbert, minister to Louis XIV of France. Colbert's death may have forced Perrault's retirement, at which point he turned to writing. Scholars have debated as to the origin of his tales and whether they are original literary fairy tales modified from commonly known stories, or based on stories written by earlier medieval writers such as Boccaccio.Elaborate embellishments were a preferred style at the French court. The simple plots Perrault started with were modified, the language enhanced, and rewritten for an audience of aristocratic and noble courtiers. Thematically, the stories support Perrault's belief that the nobility is superior to the peasant class, and many of the stories show an adherence to Catholic beliefs, such as those in which a woman undergoes purification from sin and repentance before reintegration into society.
Here are the original eight stories from the 1697 volume Contes de temps pass� by the great Charles Perrault (1628-1703) in a translation that retains the charming and unsentimental simplicity that has won Perrault a permanent position in French literature. These were among the earliest versions of some of our most familiar fairy tales ("Cinderella," "Sleeping Beauty," "Little Red Riding Hood," "Puss in Boots," and "Tom Thumb") and are still among the few classic re-tellings of these perennial stories.In addition to the five well-known tales listed above, Perrault tells three others that are sure to delight any child or adult: "The Fairies," a short and very simple tale of two sisters, one sweet and one spiteful; "Ricky of the Tuft," a very unusual story of a brilliant but ugly prince and a beautiful but stupid princess; and "Blue Beard," a suspense story perhaps more famous as a classic thriller than as a fairy tale. The witty verse morals that Perrault included in the original edition are retained here.This edition also includes 34 engravings by Gustave Dor� that show clearly why this artist became the foremost illustrator of his time. These illustrations have long been considered the ideal accompaniment to Perrault's fairy tales. In many cases they created the pictorial image that we associate with the stories.Along with the collections of Andersen, Lang, and the Brothers Grimm, this volume is among the great books of European fairy tales. These stories have been enjoyed by generation after generation of children in many countries, and are here, with magnificent Dor� illustrations, waiting to be enjoyed again.
Love is a key ingredient in the stereotypical fairy-tale ending in which everyone lives happily ever after. This romantic formula continues to influence contemporary ideas about love and marriage, but it ignores the history of love as an emotion that shapes and is shaped by hierarchies of power including gender, class, education, and social status. This interdisciplinary study questions the idealization of love as the ultimate happy ending by showing how the conteuses, the women writers who dominated the first French fairy-tale vogue in the 1690s, used the fairy-tale genre to critique the power dynamics of courtship and marriage. Their tales do not sit comfortably in the fairy-tale canon as they explore the good, the bad, and the ugly effects of love and marriage on the lives of their heroines. Bronwyn Reddan argues that the conteuses' scripts for love emphasize the importance of gender in determining the "right" way to love in seventeenth-century France. Their version of fairy-tale love is historical and contingent rather than universal and timeless. This conversation about love compels revision of the happily-ever-after narrative and offers incisive commentary on the gendered scripts for the performance of love in courtship and marriage in seventeenth-century France.
Charles Perrault (12 January 1628 – 16 May 1703) was a French author and member of the Académie Française. He laid the foundations for a new literary genre, the fairy tale, with his works derived from earlier folk tales, published in his Histoires ou contes du temps passé. The best known of his tales include Le Petit Chaperon Rouge (Little Red Riding Hood), Cendrillon (Cinderella), Le Chat Botté (Puss in Boots), La Belle au bois Dormant (The Sleeping Beauty) and Barbe Bleue (Bluebeard). Some of Perrault's versions of old stories influenced the German versions published by the Brothers Grimm more than 100 years later. The stories continue to be printed and have been adapted to opera, ballet (such as Tchaikovsky's The Sleeping Beauty), theatre, and film. Perrault was an influential figure in the 17th-century French literary scene, and was the leader of the Modern faction during the Quarrel of the Ancients and the Moderns. Cinderella, Or The Little Glass Slipper Little Red Riding-Hood The Sleeping Beauty In The Woods The Master Cat, Or Puss In Boots Blue Beard
One king, his queen and their daughter lived once in a big castle which was so rich because of the magical golden donkey they had. One day the queen died. Her last wish was that the king would remarry only if he found someone as beautiful as her. But it was not an easy task because such beauty was nowhere to be seen. Eventually the king realized that his own daughter was as magnificent as her own mother, so he decided to marry her. The poor girl however was not willing to marry her own father so she sought advice from her fairy godmother. The girl had to make impossible demands and if she was granted all of them, the king was going to get her consent. One of the conditions was the skin of the king’s precious golden donkey. Do you think the king will sacrifice the source of the kingdom’s wealth? Find out in "Donkey Skin". Charles Perrault (1628-1703) was a French author. He is known for being a pioneer of the fairy tale genre, deriving his stories from traditional folk tales. His most famous stories include "Puss in Boots", "Little Red Riding Hood", "Sleeping Beauty", and "Cinderella". His stories have been adapted to stage and screen countless times, most notably by Disney with classic animated films like "Sleeping Beauty" and "Cinderella". His story "Puss in Boots" was the basis for the character from the animated films "Shrek 2" and "Puss in Boots".
Maurice Ravel, as composer and scenario writer, collaborated with some of the greatest ballet directors, choreographers, designers and dancers of his time, including Diaghilev, Ida Rubinstein, Benois and Nijinsky. In this book, the first study dedicated to Ravel's ballets, Deborah Mawer explores these relationships and argues that ballet music should not be regarded in isolation from its associated arts. Indeed, Ravel's views on ballet and other stage works privilege a synthesized aesthetic. The first chapter establishes a historical and critical context for Ravel's scores, engaging en route with multimedia theory. Six main ballets from Daphnis et Chlo hrough to Bol are considered holistically alongside themes such as childhood fantasy, waltzing and neoclassicism. Each work is examined in terms of its evolution, premiere, critical reception and reinterpretation through to the present; new findings result from primary-source research, undertaken especially in Paris. The final chapter discusses the reasons for Ravel's collaborations and the strengths and weaknesses of his interpersonal relations. Mawer emphasizes the importance of the performative dimension in realizing Ravel's achievement, and proposes that the composer's large-scale oeuvre can, in a sense, be viewed as a balletic undertaking. In so doing, this book adds significantly to current research interest in artistic production and interplay in early twentieth-century Paris.
