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Postmodern Reinterpretations of Fairy Tales: How Applying New Methods Generates New Meanings

Kerchy, Anna Postmodern reinterpretations of fairy tales : how applying new methods generates new meanings. Edwin Mellen Press, Lewiston, N.Y, 2011.

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The essays analyze the intersectino of fairy tale, fantasy and reality in postmodern artistic texts using cutting-edge trends, showing fairy-tale and fantasy to be omnipresent. Also, the authors note the transformation of both the reader-writer relationship and epistemological and ontological considerations by new technologies and emerging subgenres.

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Postmodern Reinterpretations of Fairy Tales

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The essays analyze the intersectino of fairy tale, fantasy and reality in postmodern artistic texts using cutting-edge trends, showing fairy-tale and fantasy to be omnipresent. Also, the authors note the transformation of both the reader-writer relationship and epistemological and ontological considerations by new technologies and emerging subgenres.

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Fairy Tales and Feminism: New Approaches

Haase, Donald. “Fairy Tales and Feminism.” Google Books, Google, 18 Aug. 2004, books.google.ca/books?id=PreJWFh7UpcC&printsec=frontcover&dq=postmodern+feminist+fairy+tales&hl=en&sa=X&ved=0ahUKEwjDo93I68nnAhVEb60KHdLJBzgQ6AEIMjAB#v=onepage&q=postmodern feminist fairy tales&f=false.

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Fairy Tales and Feminism: New Approaches

edited by Donald Haase, Author Reviewer Series Editor Editorial Board Donald Haase

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In the 1970s, feminists focused critical attention on fairy tales and broke the spell that had enchanted readers for centuries. By exposing the role of fairy tales in the cultural struggle over gender, feminism transformed fairy-tale studies and sparked a debate that would change the way society thinks about fairy tales and the words "happily ever after."

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Relentless Progress: The Reconfiguration of Children's Literature, Fairy Tales, and Storytelling
Beresin, Anna R. Review of Relentless Progress: The Reconfiguration of Children's Literature, Fairy Tales, and Storytelling. Journal of American Folklore, vol. 125 no. 3, 2012, p. 506-508. Project MUSE muse.jhu.edu/article/490101.

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Can fairy tales subvert consumerism? Can fantasy and children's literature counter the homogenizing influence of globalization? Can storytellers retain their authenticity in the age of consumerism? These are some of the critical questions raised by Jack Zipes, the celebrated scholar of fairy tales and children's literature.

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Postmodern Fairy Tales: Gender and Narrative Strategies

BACCHILEGA, CRISTINA. Postmodern Fairy Tales: Gender and Narrative Strategies. University of Pennsylvania Press, 1997. JSTOR, www.jstor.org/stable/j.ctt3fhs88. Accessed 11 Feb. 2020.

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Postmodern Fairy Tales seeks to understand the fairy tale not as children's literature but within the broader context of folklore and literary studies. It focuses on the narrative strategies through which women are portrayed in four classic stories: "Snow White," "Little Red Riding Hood," "Beauty and the Beast," and "Bluebeard."

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The Postmodern Fairytale: Folkloric Intertexts in Contemporary Fiction

Smith, Kevin Paul. The Postmodern Fairytale. Palgrave Macmillian UK, 2014, https://www.palgrave.com/gp/book/9780230500488.

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Why is Shrek one of the greatest selling DVDs of all time? Why are shampoo advertisements based on Sleeping Beauty? Why is it that the same simple stories keep being told? This study attempts to explain why fairy tales keep popping up in the most unexpected places and why the best storytellers begin their tales with 'once upon a time'.

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Why Fairy Tales Stick: The Evolution and Relevance of a Genre

Zipes, Jack. “Why Fairy Tales Stick.” The Evolution and Relevance of a Genre, Routledge Taylor and Francis Group, 26 Sept. 2006, books.google.ca/books?id=AsgqrIewSR0C&printsec=frontcover&source=gbs_atb#v=onepage&q&f=false.

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In his latest book, fairy tales expert Jack Zipes takes on the question of why some fairy tales "work" and others don't, why the fairy tale is uniquely capable of getting under the skin of culture and staying there. Why, in other words, fairy tales "stick."

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‘You Are Not A Princess’ Ads From Mercy Academy Tell Girls They Can Be So Much More

Bahadur, Nina, editor. “You Are Not A Princess’ Ads From Mercy Academy Tell Girls They Can Be So Much More.” Huffpost, 6 Dec. 2017, https://www.huffpost.com/entry/you-are-not-a-princess-mercy-academy_n_4268020.

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This awesome, pro-women ad campaign has made our week.

Kentucky-based Mercy Academy, an all-girls prep school, has released a series of posters with messages for young girls like "don't wait for a prince," "life's not a fairytale" and "be more than just the fairest of them all." Instead, the ads maintain that girls should "prepare for real life."

Rebecca Cullers at AdWeek praised the campaign, which was designed by ad agency Doe-Anderson:

Let me explain why this is so cool. Is this a new message? No, it's many decades old. Is it a common message? Sadly, also no. This type of talk is not only still new to a lot of people, it's particularly timely as the Disney-princess empire continues to expand by dainty leaps and fierce bounds. What's most remarkable is that a Catholic preparatory school is taking a view of women's education that doesn't end in a prince. Lord have mercy, but Mercy Academy has a progressive view on women's role in the world.

The damaging aspect of princess culture is that it tells girls that good looks and/or a Prince Charming are all you need to get by in life, so why work hard or set goals? Being a princess is hardly the worst thing in the world, but it's important to tell girls that they can -- and should -- be so much more.

And let's be real, all-girls schools are just plain awesome. Kerry Washington attended one, and said that's how she learned to value her intelligence over her looks. Judging from this ad campaign, Mercy Academy sounds like a school where they teach young women to do exactly that.

BEFORE YOU GO

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These Ads Tell Girls They Can Do Much Better Than 'Princess'

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This awesome, pro-women ad campaign has made our week. Kentucky-based Mercy Academy, an all-girls prep school, has released a series of posters with messages for young girls like "don't wait for a prince," "life's not a fairytale" and "be more than just the fairest of them all."

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Ever After

Tennant, Andy, director. Ever After. Twentieth Century Fox, 1998.

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Cinder
Meyer, Marissa. Cinder. Feiwel & Friends, 2012.

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Cinderella
Grimm, Jacob and Wilhelm. "Cinderella." The Grimm Brothers’ Children’s and Household Tales (Grimms’ Fairy Tales). D.L. Ashliman, 1 June 2011. http://www.pitt.edu/~dash/grimm021.html. Accessed 11 February, 2020.

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Red Riding Cap

Grimm, Jacob and Wilhelm. "Red Riding Cap." The Grimm Brothers’ Children’s and Household Tales (Grimms’ Fairy Tales). D.L. Ashliman, 3 March 2015.
http://www.pitt.edu/~dash/grimm026.html . Accessed 11 February, 2020.

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Scarlet
Meyer, Marissa. Scarlet. Square Fish, Feiwel and Friends, 2014.

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Once Upon A Time
Horowitz, Adam, Eddy Kitsis, Jennifer Morrison, Jared S. Gilmore, Ginnifer Goodwin, Joshua Dallas, Lana Parrilla, Robert Carlyle, and Raphael Sbarge. Once Upon a Time: The Complete First Season. United States: ABC Studios, 2012.

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The research I have gathered has provided a direct linkage between the distinct changes made to classic fairy tales like Cinderella and Red Riding Cap to better draw the attention of the new generation of young adults, the modern retellings from non scholarly sources I would focus on would be the Lunar Chronicles; Cinder and Scarlet. Anna Kerchy's Postmodern Reinterpretations of Fairy Tales provides the method which author and directors are achieving success with these retellings, like the film Ever After, and the show Once Upon a Time. Why Fairy Tales Stick, also provides points for why some fairy tales garner more attractions than others, along with how and why the change in genre for certain modern fairy tales allows for a larger rate of success. Fairy tale and Feminism aided in finding when the change to the female perspective in fairy tales began, and how Advertisements like You Are Not a Princess, for the admission to an all-girls preparatory school, is a drastic change from past beliefs.

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I still need to better understand the changed feminist approach,  and if these ideals were forced by modern times or if they simply evolved. I also need to investigate how young adults are reacting to the changes in messages in the fairy tales, whether certain aged ideals still remain in the new generation or if most have conformed to contemporary beliefs. As well as learn how Propp's structure in fairytales has changed in new retellings, and why they changed, if they have.