凯瑟琳·奥兰丝汀,哈佛大学毕业,哥伦比亚大学国际关系学硕士,现为自由作家,专门撰写有关女性问题,拉西美洲和海地的文章,《百变小红帽》的构思源于她的毕业论文。
其作品常见于美国《华盛顿邮报》、《纽约时报》、《仕女杂志》、《旧金山侦查者周日杂志》和其他刊物。目前定居纽约。
Choosing one of the few fairy tales that does not conclude with a wedding, Catherine Orenstein reinterprets the many versions of "Little Red Riding Hood" by setting the tale against the mores and values of its times. The result is a highly entertaining and interesting conversation about one of our best-known stories.
Starting with the first-known published version, Orenstein points out Charles Perrault's lesson to young girls entering the lascivious and political court of Louis XIV. She traces the story further back to a shockingly playful rendition that includes bzous (werewolves) and cannibalism. In this version, she revives the symbolism that relates to the feminine by pointing out the odd questions of the bzou: "Which path are you taking... the path of needles or the path of pins?" Orenstein also takes a look at more modern versions, including Anne Sexton's poem "Red Riding Hood" and Matthew Bright's film Freeway, taking on, as she examines these and other modern versions of the old tale, the machismo wolf and the Gen-X grrrl.
Though expansive in her research, Orenstein's interpretations are occasionally too simplistic. In "Grandmother's Tale," Riding Hood's cannibalistic meal of her grandmother is reduced to a "symbolic reminder that the old will be reborn in the young." There is nothing mentioned of the talking cat who decries Riding Hood, saying, "She is a slut who eats the flesh and drinks the blood of her granny!" But what Orenstein lacks in depth, she more than makes up for in her encompassing study. In all, 10 tales are examined, as well as a vast historical study of the times they were published. Written with lively prose, Orenstein has produced a book that will spark thought and conversation, encouraging readers to find the wolf, the grandmother, and the little girl within. --Karin Rosman --This text refers to an out of print or unavailable edition of this title.
在《百变小红帽——一则童话三百年的演变》这本书中,美国作家凯瑟琳·奥兰斯汀说:“旨在探讨一个童话故事,即故事背后的故事,更精确地说,是故事背后的观念。” 小红帽最初始于17世纪法国诗人佩罗笔下,鉴于那个年代,小红帽在诞生的一开始就并不如我们一贯的观念...
评分在《百变小红帽——一则童话三百年的演变》这本书中,美国作家凯瑟琳·奥兰斯汀说:“旨在探讨一个童话故事,即故事背后的故事,更精确地说,是故事背后的观念。” 小红帽最初始于17世纪法国诗人佩罗笔下,鉴于那个年代,小红帽在诞生的一开始就并不如我们一贯的观念...
评分在《百变小红帽——一则童话三百年的演变》这本书中,美国作家凯瑟琳·奥兰斯汀说:“旨在探讨一个童话故事,即故事背后的故事,更精确地说,是故事背后的观念。” 小红帽最初始于17世纪法国诗人佩罗笔下,鉴于那个年代,小红帽在诞生的一开始就并不如我们一贯的观念...
评分首先,这本编排杂乱、缺乏体系的书算不上一部认真严谨的童话研究学术书。 其次,跟之前看过的一些打着“童话(神话)心理分析批评”的文章书目调调差不多(有几个作者在国内文化界还颇有名)。无比热衷于打破人们一般映象中的单纯、美好,套入他们那种自诩“理性”的阴暗冰冷框架...
评分关键词:人之有限性 欧洲童话中有一则故事叫做《无所畏惧的小伙子》,和格林兄弟的故事集中收录的《傻少年学害怕》一文多少有点相似。两个故事中的主人公都是从小就天不怕地不怕,因而被视为异类的少年,他们的渎神行为让他们虔诚的亲戚朋友们充满了恐惧。终于有一天,故事中的...
The one and only essence of her is eternal fluidity.
评分The one and only essence of her is eternal fluidity.
评分The one and only essence of her is eternal fluidity.
评分The one and only essence of her is eternal fluidity.
评分vely interesting, half-done
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