Marina Warner – författare

From wicked queens, beautiful princesses, elves, monsters, and goblins, to giants, glass slippers, poisoned apples, magic keys, and mirrors, the characters and images of fairy tales have cast a spell over readers and audiences, both adults and children, for centuries. These fantastic stories have travelled across cultural borders, and been passed on from generation to generation, ever-changing, renewed with each re-telling. Few forms of literature have greater power to enchant us and rekindle our imagination than a fairy tale. But what is a fairy tale? Where do they come from and what do they mean? What do they try and communicate to us about morality, sexuality, and society? The range of fairy tales stretches across great distances and time; their history is entangled with folklore and myth, and their inspiration draws on ideas about nature and the supernatural, imagination and fantasy, psychoanalysis, and feminism. In this Very Short Introduction, Marina Warner digs into a rich hoard of fairy tales in all their brilliant and fantastical variations, in order to define a genre and evaluate a literary form that keeps shifting through time and history. Drawing on a glittering array of examples, from classics such as Red Riding Hood, Cinderella, and The Sleeping Beauty, the Grimm Brothers' Hansel and Gretel, and Hans Andersen's The Little Mermaid, to modern-day realizations including Walt Disney's Snow White, Warner forms a persuasive case for fairy tale as a crucial repository of human understanding and culture. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

Sanctuary is an ancient right. But what does it mean today? Drawing on a lifetime of engagement with literature, myth, history and tradition from different cultures, Marina Warner's Sanctuary is an ambitious attempt to grapple with the sharpest questions that we are facing in today's world of global turmoil. Sanctuary is an ancient right– a haven, a place of refuge and freedom from harm. In the classical world, it offered immunity to fugitives from justice; in medieval Europe it extended a reprieve to all who sought sanctuary in a church or holy site. It was a sacrilege to lay hands on a sanctuary-seeker: sanctuary was sacred.But what are the principles that govern this ancient tradition? Could a revived practice of sanctuary today offer security, a home for those who seek it? What could ‘sanctuary’ offer to those who have been displaced? Or does the idea support excluding those of a certain race or creed?Increasingly, in keeping with the general growth of nationalism and individualism, the arc of the concept has been bending away from a place of openness and welcome towards a private safe place, a redoubt: home and homeland as sanctuaries to be defended against strangers, migrants, incomers.In this groundbreaking book, the distinguished cultural historian Marina Warner explores the principles that underpin the tradition of ‘sanctuary’. She ranges broadly across myth and history and explores the concept of hospitality, the cult of relics, shrines and festivals, the imagination of place, and travelling tales. She asks profound questions about political ideas of a right to safety, home, freedom of movement, and peace.Sanctuary was written alongside work with the project “Stories in Transit” which brings young refugees together with artists, writers and musicians in the UK and in Sicily to invent or reimagine stories and perform them. Marina Warner reflects on the ways stories address the worst experiences of humanity and argues that the act of storytelling offers a salve, a route to a site of mutual interaction and understanding, a new place of belonging and conviviality. The book draws on a lifetime of engagement with literature, myth, history and tradition from different cultures. It is an ambitious attempt to grapple with the sharpest questions that we are facing in a world of global turmoil. Warner’s inquiry could not be more relevant.

Sanctuary is an ancient right. But what does it mean today? Drawing on a lifetime of engagement with literature, myth, history and tradition from different cultures, Marina Warner's Sanctuary is an ambitious attempt to grapple with the sharpest questions that we are facing in today's world of global turmoil. Sanctuary is an ancient right– a haven, a place of refuge and freedom from harm. In the classical world, it offered immunity to fugitives from justice; in medieval Europe it extended a reprieve to all who sought sanctuary in a church or holy site. It was a sacrilege to lay hands on a sanctuary-seeker: sanctuary was sacred. But what are the principles that govern this ancient tradition? Could a revived practice of sanctuary today offer security, a home for those who seek it? What could ‘sanctuary’ offer to those who have been displaced? Or does the idea support excluding those of a certain race or creed? Increasingly, in keeping with the general growth of nationalism and individualism, the arc of the concept has been bending away from a place of openness and welcome towards a private safe place, a redoubt: home and homeland as sanctuaries to be defended against strangers, migrants, incomers. In this groundbreaking book, the distinguished cultural historian Marina Warner explores the principles that underpin the tradition of ‘sanctuary’. She ranges broadly across myth and history and explores the concept of hospitality, the cult of relics, shrines and festivals, the imagination of place, and travelling tales. She asks profound questions about political ideas of a right to safety, home, freedom of movement, and peace. Sanctuary was written alongside work with the project “Stories in Transit” which brings young refugees together with artists, writers and musicians in the UK and in Sicily to invent or reimagine stories and perform them. Marina Warner reflects on the ways stories address the worst experiences of humanity and argues that the act of storytelling offers a salve, a route to a site of mutual interaction and understanding, a new place of belonging and conviviality. The book draws on a lifetime of engagement with literature, myth, history and tradition from different cultures. It is an ambitious attempt to grapple with the sharpest questions that we are facing in a world of global turmoil. Warner’s inquiry could not be more relevant.

Sanctuary is an ancient right. But what does it mean today? Drawing on a lifetime of engagement with literature, myth, history and tradition from different cultures, Marina Warner's Sanctuary is an ambitious attempt to grapple with the sharpest questions that we are facing in today's world of global turmoil. Sanctuary is an ancient right– a haven, a place of refuge and freedom from harm. In the classical world, it offered immunity to fugitives from justice; in medieval Europe it extended a reprieve to all who sought sanctuary in a church or holy site. It was a sacrilege to lay hands on a sanctuary-seeker: sanctuary was sacred. But what are the principles that govern this ancient tradition? Could a revived practice of sanctuary today offer security, a home for those who seek it? What could ‘sanctuary’ offer to those who have been displaced? Or does the idea support excluding those of a certain race or creed? Increasingly, in keeping with the general growth of nationalism and individualism, the arc of the concept has been bending away from a place of openness and welcome towards a private safe place, a redoubt: home and homeland as sanctuaries to be defended against strangers, migrants, incomers. In this groundbreaking book, the distinguished cultural historian Marina Warner explores the principles that underpin the tradition of ‘sanctuary’. She ranges broadly across myth and history and explores the concept of hospitality, the cult of relics, shrines and festivals, the imagination of place, and travelling tales. She asks profound questions about political ideas of a right to safety, home, freedom of movement, and peace. Sanctuary was written alongside work with the project “Stories in Transit” which brings young refugees together with artists, writers and musicians in the UK and in Sicily to invent or reimagine stories and perform them. Marina Warner reflects on the ways stories address the worst experiences of humanity and argues that the act of storytelling offers a salve, a route to a site of mutual interaction and understanding, a new place of belonging and conviviality. The book draws on a lifetime of engagement with literature, myth, history and tradition from different cultures. It is an ambitious attempt to grapple with the sharpest questions that we are facing in a world of global turmoil. Warner’s inquiry could not be more relevant.

A luminous memoir of post-war childhood, adventure and loss on the banks of the Nile. ‘Wonderful – a brave, inventive, touching distillation of memory and imagination’ JENNY UGLOWInventory of a Life Mislaid follows Marina Warner’s beautiful, penniless young mother Ilia as she leaves southern Italy in 1945 to travel alone to London. Her husband, an English colonel, is still away in the war in the East as she begins to learn how to be Mrs Esmond Warner, an Englishwoman.With diamond rings on her fingers and brogues on her feet, Ilia steps fearlessly into the world of cricket and riding. But, without prospect of work in a bleak, war-ravaged England, Esmond remembers the glorious ease of Cairo during his periods of leave from the desert campaign. There, they start a bookshop, a branch of W. H. Smith’s. But growing resistance to foreign interests, especially British, erupts in the 1952 uprising, and the Cairo Fire burns the city clean.Evocative and imaginative, at once historical and speculative, this memoir powerfully resurrects the fraught union and unrequited hopes of Warner’s parents. Memory intertwines richly with myth, the river Lethe feeling as real as the Nile. Vivid recollections of Cairo swirl with ever-present dreams of a city where Warner’s parents, friends and associates are still restlessly wandering.

A luminous memoir of post-war childhood, adventure and loss on the banks of the Nile. ‘Wonderful – a brave, inventive, touching distillation of memory and imagination’ JENNY UGLOWInventory of a Life Mislaid follows Marina Warner’s beautiful, penniless young mother Ilia as she leaves southern Italy in 1945 to travel alone to London. Her husband, an English colonel, is still away in the war in the East as she begins to learn how to be Mrs Esmond Warner, an Englishwoman.With diamond rings on her fingers and brogues on her feet, Ilia steps fearlessly into the world of cricket and riding. But, without prospect of work in a bleak, war-ravaged England, Esmond remembers the glorious ease of Cairo during his periods of leave from the desert campaign. There, they start a bookshop, a branch of W. H. Smith’s. But growing resistance to foreign interests, especially British, erupts in the 1952 uprising, and the Cairo Fire burns the city clean.Evocative and imaginative, at once historical and speculative, this memoir powerfully resurrects the fraught union and unrequited hopes of Warner’s parents. Memory intertwines richly with myth, the river Lethe feeling as real as the Nile. Vivid recollections of Cairo swirl with ever-present dreams of a city where Warner’s parents, friends and associates are still restlessly wandering.

A luminous memoir of post-war childhood, adventure and loss on the banks of the Nile.‘Wonderful – a brave, inventive, touching distillation of memory and imagination’ JENNY UGLOWInventory of a Life Mislaid follows Marina Warner’s beautiful, penniless young mother Ilia as she leaves southern Italy in 1945 to travel alone to London. Her husband, an English colonel, is still away in the war in the East as she begins to learn how to be Mrs Esmond Warner, an Englishwoman.With diamond rings on her fingers and brogues on her feet, Ilia steps fearlessly into the world of cricket and riding. But, without prospect of work in a bleak, war-ravaged England, Esmond remembers the glorious ease of Cairo during his periods of leave from the desert campaign. There, they start a bookshop, a branch of W. H. Smith’s. But growing resistance to foreign interests, especially British, erupts in the 1952 uprising, and the Cairo Fire burns the city clean.Evocative and imaginative, at once historical and speculative, this memoir powerfully resurrects the fraught union and unrequited hopes of Warner’s parents. Memory intertwines richly with myth, the river Lethe feeling as real as the Nile. Vivid recollections of Cairo swirl with ever-present dreams of a city where Warner’s parents, friends and associates are still restlessly wandering.

A luminous memoir of post-war childhood, adventure and loss on the banks of the Nile. ‘Wonderful – a brave, inventive, touching distillation of memory and imagination’ JENNY UGLOWInventory of a Life Mislaid follows Marina Warner’s beautiful, penniless young mother Ilia as she leaves southern Italy in 1945 to travel alone to London. Her husband, an English colonel, is still away in the war in the East as she begins to learn how to be Mrs Esmond Warner, an Englishwoman.With diamond rings on her fingers and brogues on her feet, Ilia steps fearlessly into the world of cricket and riding. But, without prospect of work in a bleak, war-ravaged England, Esmond remembers the glorious ease of Cairo during his periods of leave from the desert campaign. There, they start a bookshop, a branch of W. H. Smith’s. But growing resistance to foreign interests, especially British, erupts in the 1952 uprising, and the Cairo Fire burns the city clean.Evocative and imaginative, at once historical and speculative, this memoir powerfully resurrects the fraught union and unrequited hopes of Warner’s parents. Memory intertwines richly with myth, the river Lethe feeling as real as the Nile. Vivid recollections of Cairo swirl with ever-present dreams of a city where Warner’s parents, friends and associates are still restlessly wandering.

Sanctuary is an ancient right. But what does it mean today? Drawing on a lifetime of engagement with literature, myth, history and tradition from different cultures, Marina Warner's Sanctuary is an ambitious attempt to grapple with the sharpest questions that we are facing in today's world of global turmoil.Sanctuary is an ancient right- a haven, a place of refuge and freedom from harm. In the classical world, it offered immunity to fugitives from justice; in medieval Europe it extended a reprieve to all who sought sanctuary in a church or holy site. It was a sacrilege to lay hands on a sanctuary-seeker: sanctuary was sacred.But what are the principles that govern this ancient tradition? Could a revived practice of sanctuary today offer security, a home for those who seek it? What could 'sanctuary' offer to those who have been displaced? Or does the idea support excluding those of a certain race or creed?Increasingly, in keeping with the general growth of nationalism and individualism, the arc of the concept has been bending away from a place of openness and welcome towards a private safe place, a redoubt: home and homeland as sanctuaries to be defended against strangers, migrants, incomers.In this groundbreaking book, the distinguished cultural historian Marina Warner explores the principles that underpin the tradition of 'sanctuary'. She ranges broadly across myth and history and explores the concept of hospitality, the cult of relics, shrines and festivals, the imagination of place, and travelling tales. She asks profound questions about political ideas of a right to safety, home, freedom of movement, and peace.Sanctuary was written alongside work with the project "e;Stories in Transit"e; which brings young refugees together with artists, writers and musicians in the UK and in Sicily to invent or reimagine stories and perform them. Marina Warner reflects on the ways stories address the worst experiences of humanity and argues that the act of storytelling offers a salve, a route to a site of mutual interaction and understanding, a new place of belonging and conviviality. The book draws on a lifetime of engagement with literature, myth, history and tradition from different cultures. It is an ambitious attempt to grapple with the sharpest questions that we are facing in a world of global turmoil. Warner's inquiry could not be more relevant.

Sanctuary is an ancient right. But what does it mean today? Drawing on a lifetime of engagement with literature, myth, history and tradition from different cultures, Marina Warner's Sanctuary is an ambitious attempt to grapple with the sharpest questions that we are facing in today's world of global turmoil. Sanctuary is an ancient right- a haven, a place of refuge and freedom from harm. In the classical world, it offered immunity to fugitives from justice; in medieval Europe it extended a reprieve to all who sought sanctuary in a church or holy site. It was a sacrilege to lay hands on a sanctuary-seeker: sanctuary was sacred.But what are the principles that govern this ancient tradition? Could a revived practice of sanctuary today offer security, a home for those who seek it? What could 'sanctuary' offer to those who have been displaced? Or does the idea support excluding those of a certain race or creed?Increasingly, in keeping with the general growth of nationalism and individualism, the arc of the concept has been bending away from a place of openness and welcome towards a private safe place, a redoubt: home and homeland as sanctuaries to be defended against strangers, migrants, incomers.In this groundbreaking book, the distinguished cultural historian Marina Warner explores the principles that underpin the tradition of 'sanctuary'. She ranges broadly across myth and history and explores the concept of hospitality, the cult of relics, shrines and festivals, the imagination of place, and travelling tales. She asks profound questions about political ideas of a right to safety, home, freedom of movement, and peace.Sanctuary was written alongside work with the project "e;Stories in Transit"e; which brings young refugees together with artists, writers and musicians in the UK and in Sicily to invent or reimagine stories and perform them. Marina Warner reflects on the ways stories address the worst experiences of humanity and argues that the act of storytelling offers a salve, a route to a site of mutual interaction and understanding, a new place of belonging and conviviality. The book draws on a lifetime of engagement with literature, myth, history and tradition from different cultures. It is an ambitious attempt to grapple with the sharpest questions that we are facing in a world of global turmoil. Warner's inquiry could not be more relevant.

Inspired by The Tempest, Indigo traces the scars of colonialism across continents, family blood-lines and three centuries. Rich, sensual and magical in its use of myths and fairytales Indigo explores the intertwined histories of the Everard family and the imaginary Caribbean island where Ariel, Caliban, and his mother, the healer and dyer of indigo, Sycorax once lived.

In early 1994 Marina Warner delivered the prestigious Reith Lectures for the BBC. In a series of six lectures, she takes areas of contemporary concern and relates them to stories from mythology and fairy tale which continue to grip the modern imagination.She analyses the fury about single mothers and the anxiety about masculinity in the light of ideals about male heroism and control; the current despair about children and the loss of childhood innocence; the changing attitude of myths about wild men and beasts and the undertow of racism which is expressed in myths about savages and cannibals. The last lecture, on home, brings the themes together to examine ideas about who we are and where we belong, with reference to the British nation and its way of telling its own history.Using a range of examples from video games to Turner's paintings, from popular films to Keats, Marina Warner interweaves her critique of fantasy, dream and prejudice.

Since the early 1970s, Marina Warner has been one of the most challenging, subtle and profound commentators on the culture of past and present, unravelling our webs of images, ideas and beliefs, and making new and provocative connections. This resonant collection draws together essays written over twenty-five years, offering a wide-ranging retrospective of her developing ideas. Whether writing on Vietnam, Mrs Thatcher, the dollar sign and the twin towers, Queen Elizabeth I and incest, weeping Madonnas, zombies or fairytales, Marian Warner displays a rare gift for blending historical and anthropological insights with deft and perceptive readings on individual works.

'Why should Truth be a woman? Or Nature? Or Justice? Or Liberty? Not, certainly, because women have been more free, just, truthful, nor even (though this one has a double edge) more natural. Marina Warner sets out to breathe some life into the army of petrified personages that litters western cityscapes... As her book shows, these stony ladies can be persuaded to yield surprisingly interesting answers' - Lorna Sage, ObserverAn entertaining and enlightening book about the relationship between allegory and female form from one of the great feminists and cultural historians of our time, Marina Warner.

As children, Charles and Mary Lamb took great delight in exploring their benefactor's extensive library; as adults they began writing children's books together that also appealed to all generations. In Tales of Shakespeare they wished to bring their favourite plays to life for children too young to read and appreciate Shakespeare's work. This collection of twenty of Shakespeare's stories begins with The Tempest, which explores themes of magic, power and reconciliation, and ends with Pericles, Prince of Tyre, an exotic play of love, loss and family ties. Between these two tales are twelve romances and comedies, all written by Mary, and six tragedies, all written by Charles. Each tale is told chronologically and retains much of Shakespeare's lyricism, phrasing and rhythm. Together, they form a captivating and accessible introduction to the Bard's work.

As children, Charles and Mary Lamb took great delight in exploring their benefactor’s extensive library; as adults they began writing children’s books together that also appealed to all generations. In Tales of Shakespeare they wished to bring their favourite plays to life for children too young to read and appreciate Shakespeare’s work. This collection of twenty of Shakespeare’s stories begins with The Tempest, which explores themes of magic, power and reconciliation, and ends with Pericles, Prince of Tyre, an exotic play of love, loss and family ties. Between these two tales are twelve romances and comedies, all written by Mary, and six tragedies, all written by Charles. Each tale is told chronologically and retains much of Shakespeare’s lyricism, phrasing and rhythm. Together, they form a captivating and accessible introduction to the Bard’s work.

From wicked queens, beautiful princesses, elves, monsters, and goblins to giants, glass slippers, poisoned apples, magic keys, and mirrors, the characters and images of fairy tales have cast a spell over readers and audiences, both adults and children, for centuries. These fantastic stories have travelled across cultural borders, and been passed on from generation to generation, ever-changing, renewed with each re-telling. Few forms of literature have greater power to enchant us and rekindle our imagination than a fairy tale. But what is a fairy tale? Where do they come from and what do they mean? What do they try and communicate to us about morality, sexuality, and society? The range of fairy tales stretches across great distances and time; their history is entangled with folklore and myth, and their inspiration draws on ideas about nature and the supernatural, imagination and fantasy, psychoanalysis, and feminism. Marina Warner has loved fairy tales over a long writing life, and she explores here a multitude of tales through the ages, their different manifestations on the page, the stage, and the screen. From the phenomenal rise of Victorian and Edwardian literature to contemporary children''s stories, Warner unfolds a glittering array of examples, from classics such as Red Riding Hood, Cinderella, and The Sleeping Beauty, the Grimm Brothers'' Hansel and Gretel, and Hans Andersen''s The Little Mermaid, to modern-day realizations including Walt Disney''s Snow White and gothic interpretations such as Pan''s Labyrinth. In ten succinct chapters, Marina Warner digs into a rich hoard of fairy tales in their brilliant and fantastical variations, in order to define a genre and evaluate a literary form that keeps shifting through time and history. Her book makes a persuasive case for fairy tale as a crucial repository of human understanding and culture.

From wicked queens, beautiful princesses, elves, monsters, and goblins to giants, glass slippers, poisoned apples, magic keys, and mirrors, the characters and images of fairy tales have cast a spell over readers and audiences, both adults and children, for centuries. These fantastic stories have travelled across cultural borders, and been passed on from generation to generation, ever-changing, renewed with each re-telling. Few forms of literature have greater power to enchant us and rekindle our imagination than a fairy tale. But what is a fairy tale? Where do they come from and what do they mean? What do they try and communicate to us about morality, sexuality, and society? The range of fairy tales stretches across great distances and time; their history is entangled with folklore and myth, and their inspiration draws on ideas about nature and the supernatural, imagination and fantasy, psychoanalysis, and feminism. Marina Warner has loved fairy tales over a long writing life, and she explores here a multitude of tales through the ages, their different manifestations on the page, the stage, and the screen. From the phenomenal rise of Victorian and Edwardian literature to contemporary children''s stories, Warner unfolds a glittering array of examples, from classics such as Red Riding Hood, Cinderella, and The Sleeping Beauty, the Grimm Brothers'' Hansel and Gretel, and Hans Andersen''s The Little Mermaid, to modern-day realizations including Walt Disney''s Snow White and gothic interpretations such as Pan''s Labyrinth. In ten succinct chapters, Marina Warner digs into a rich hoard of fairy tales in their brilliant and fantastical variations, in order to define a genre and evaluate a literary form that keeps shifting through time and history. Her book makes a persuasive case for fairy tale as a crucial repository of human understanding and culture.

Metamorphosis is a dynamic principle of creation, vital to natural processes of generation and evolution, growth and decay, yet it also threatens personal identity if human beings are subject to a continual process of bodily transformation. Shape-shifting also belongs in the landscape of magic, witchcraft, and wonder, and enlivens classical mythology, early modern fairy tales and uncanny fictions of the nineteenth and twentieth centuries. This collection of essays, given as the Clarendon Lectures in English 2001, takes four dominant processes of metamorphosis: Mutating, Hatching, Splitting, and Doubling, and explores their metaphorical power in the evication of human personality. Marina Warner traces this story against a background of historical encounters with different cultures, especially with the Caribbean. Beginning with Ovid''s great poem, The Metamorphoses, as the founding text of the metamorphic tradition, she takes us on a journey of exploration, into the fantastic art of Hieronymous Bosch, the legends of the Taino people, the life cycle of the butterfly, the myth of Leda and the Swan, the genealogy of the Zombie, the pantomime of Aladdin, the haunting of doppelgangers, the coming of photography, and the late fiction of Lewis Carroll.

From wicked queens, beautiful princesses, elves, monsters, and goblins, to giants, glass slippers, poisoned apples, magic keys, and mirrors, the characters and images of fairy tales have cast a spell over readers and audiences, both adults and children, for centuries. These fantastic stories have travelled across cultural borders, and been passed on from generation to generation, ever-changing, renewed with each re-telling. Few forms of literature have greater power to enchant us and rekindle our imagination than a fairy tale. But what is a fairy tale? Where do they come from and what do they mean? What do they try and communicate to us about morality, sexuality, and society? The range of fairy tales stretches across great distances and time; their history is entangled with folklore and myth, and their inspiration draws on ideas about nature and the supernatural, imagination and fantasy, psychoanalysis, and feminism. In this Very Short Introduction, Marina Warner digs into a rich hoard of fairy tales in all their brilliant and fantastical variations, in order to define a genre and evaluate a literary form that keeps shifting through time and history. Drawing on a glittering array of examples, from classics such as Red Riding Hood, Cinderella, and The Sleeping Beauty, the Grimm Brothers'' Hansel and Gretel, and Hans Andersen''s The Little Mermaid, to modern-day realizations including Walt Disney''s Snow White, Warner forms a persuasive case for fairy tale as a crucial repository of human understanding and culture. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

From wicked queens, beautiful princesses, elves, monsters, and goblins, to giants, glass slippers, poisoned apples, magic keys, and mirrors, the characters and images of fairy tales have cast a spell over readers and audiences, both adults and children, for centuries. These fantastic stories have travelled across cultural borders, and been passed on from generation to generation, ever-changing, renewed with each re-telling. Few forms of literature have greater power to enchant us and rekindle our imagination than a fairy tale. But what is a fairy tale? Where do they come from and what do they mean? What do they try and communicate to us about morality, sexuality, and society? The range of fairy tales stretches across great distances and time; their history is entangled with folklore and myth, and their inspiration draws on ideas about nature and the supernatural, imagination and fantasy, psychoanalysis, and feminism. In this Very Short Introduction, Marina Warner digs into a rich hoard of fairy tales in all their brilliant and fantastical variations, in order to define a genre and evaluate a literary form that keeps shifting through time and history. Drawing on a glittering array of examples, from classics such as Red Riding Hood, Cinderella, and The Sleeping Beauty, the Grimm Brothers'' Hansel and Gretel, and Hans Andersen''s The Little Mermaid, to modern-day realizations including Walt Disney''s Snow White, Warner forms a persuasive case for fairy tale as a crucial repository of human understanding and culture. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

Metamorphosis is a dynamic principle of creation, vital to natural processes of generation and evolution, growth and decay, yet it also threatens personal identity if human beings are subject to a continual process of bodily transformation. Shape-shifting also belongs in the landscape of magic, witchcraft, and wonder, and enlivens classical mythology, early modern fairy tales and uncanny fictions of the nineteenth and twentieth centuries. This collection of essays, given as the Clarendon Lectures in English 2001, takes four dominant processes of metamorphosis: Mutating, Hatching, Splitting, and Doubling, and explores their metaphorical power in the evication of human personality. Marina Warner traces this story against a background of historical encounters with different cultures, especially with the Caribbean. Beginning with Ovid''s great poem, The Metamorphoses, as the founding text of the metamorphic tradition, she takes us on a journey of exploration, into the fantastic art of Hieronymous Bosch, the legends of the Taino people, the life cycle of the butterfly, the myth of Leda and the Swan, the genealogy of the Zombie, the pantomime of Aladdin, the haunting of doppelgangers, the coming of photography, and the late fiction of Lewis Carroll.

This unique study of the cult of the Virgin Mary offers a way of thinking about the interrelations of Catholicism and ideas of ideal femininity over the longue duree. An ambitious history of the changing symbolism of the Mother of God, Alone of All Her Sex holds up to the light different emphases occurring at different times, and highlights that the apparent archetype of a magna mater is constantly in play with social and historical conditions and values.Marina Warner''s interesting perspective was forged in the aftermath of significant postwar developments in history, anthropology, and feminism and the book inspired fierce debates when it was first published in 1976. Alone of All Her Sex is also an emotive, personal statement, arising from Warner''s ownupbringing as a Catholic. It picks up on classic accounts such as Mary MacCarthy''s Memoirs of a Catholic Girlhood and Antonia White''s Frost in May, as well as the author''s own experiences at a Catholic boarding school. Highly controversial in conservative quarters, the book''s arguments were welcomed and recognised by many readers who shared Warner''s experiences. In this new edition, Marina Warner has written a new preface which reviews the book in the light of the currentdebate about secularism, faith, nations, and social identities. She takes issue with her original mistaken conclusion that the modern age would see the cult of Mary fade away and revises it in the light of recent popes'' enthusiasm for the Mother of God, a fresh wave of visions and revelations, a new generation of femalesaints, and the reorientation of theological approaches to the woman question.

This unique study of the cult of the Virgin Mary offers a way of thinking about the interrelations of Catholicism and ideas of ideal femininity over the longue duree. An ambitious history of the changing symbolism of the Mother of God, Alone of All Her Sex holds up to the light different emphases occurring at different times, and highlights that the apparent archetype of a magna mater is constantly in play with social and historical conditions and values.Marina Warner''s interesting perspective was forged in the aftermath of significant postwar developments in history, anthropology, and feminism and the book inspired fierce debates when it was first published in 1976. Alone of All Her Sex is also an emotive, personal statement, arising from Warner''s ownupbringing as a Catholic. It picks up on classic accounts such as Mary MacCarthy''s Memoirs of a Catholic Girlhood and Antonia White''s Frost in May, as well as the author''s own experiences at a Catholic boarding school. Highly controversial in conservative quarters, the book''s arguments were welcomed and recognised by many readers who shared Warner''s experiences. In this new edition, Marina Warner has written a new preface which reviews the book in the light of the currentdebate about secularism, faith, nations, and social identities. She takes issue with her original mistaken conclusion that the modern age would see the cult of Mary fade away and revises it in the light of recent popes'' enthusiasm for the Mother of God, a fresh wave of visions and revelations, a new generation of femalesaints, and the reorientation of theological approaches to the woman question.

The fame of Joan of Arc began in her lifetime and, though it has dipped a little now and then, she has never vanished from view. Her image acts as a seismograph for the shifts and settlings of personal and political ideals: Joan of Arc is the heroine every movement has wanted as their figurehead. In France, anti-semitic, xenophobic, extreme right parties have claimed her since the Action Francaise in the 19th century. By contrast, Socialists, feminists, andliberal Catholics rallied to her as the champion of the dispossessed and the wrongly accused. Joan of Arc has also played a crucial role in changing visions of female heroism. She has proved an inexhaustible source of inspiration for writers, playwrights, film-makers, performers, and composers. In asingle, brief life, several of the essential mythopoiec characteristics that throughout history have defined the charismatic leader and saint are powerfully and intensely condensed. Even while Joan of Arc was still alive, but far more so after her death, the heroic part of her story sparked narratives of all kinds, in pictures, ballads, plays, and also satires. This was only heightened in 1841-9 by the publication of the Inquisition trial which had examined Joan for witchcraft and heresy.The transcript of the interrogations gives us the voice of this young woman across the centuries with almost unbearable immediacy; her spirit leaps from the page, uncompromising in its frankness, good sense, courage, and often breathtaking in its simple effectiveness. Joan of Arc into one of the mostfully and vividly present personalities in history, about whom a great more is known, in her own words and at first hand, than is, for example, about Shakespeare. However, this has not stopped the flow of fictions and fantasies about her. Marina Warner analyses the symbolism of the Maid in her own time and in her rich afterlife in popular culture. The cultural expressions are part of an ongoing historical struggle to own the symbol - you could say, the brand. In a new preface to herstudy, Marina Warner takes stock of the continuing contention, in politics and culture, for this powerful symbol of virtue. Joan of Arc''s multiple resurrections and transformations show how vigorous the need for figures like her remains, and how crucial it is to meet that need with thoughtfulness.She argues that abandoning the search to identify heroes and define them, out of a kind of high-minded distaste for propaganda, lets dangerous political factions manipulate them to their own ends. When Marine Le Pen calls on Joan of Arc''s name, she needs to be confronted about her bad faith and her abuse of history.

The fame of Joan of Arc began in her lifetime and, though it has dipped a little now and then, she has never vanished from view. Her image acts as a seismograph for the shifts and settlings of personal and political ideals: Joan of Arc is the heroine every movement has wanted as their figurehead. In France, anti-semitic, xenophobic, extreme right parties have claimed her since the Action Francaise in the 19th century. By contrast, Socialists, feminists, andliberal Catholics rallied to her as the champion of the dispossessed and the wrongly accused. Joan of Arc has also played a crucial role in changing visions of female heroism. She has proved an inexhaustible source of inspiration for writers, playwrights, film-makers, performers, and composers. In asingle, brief life, several of the essential mythopoiec characteristics that throughout history have defined the charismatic leader and saint are powerfully and intensely condensed. Even while Joan of Arc was still alive, but far more so after her death, the heroic part of her story sparked narratives of all kinds, in pictures, ballads, plays, and also satires. This was only heightened in 1841-9 by the publication of the Inquisition trial which had examined Joan for witchcraft and heresy.The transcript of the interrogations gives us the voice of this young woman across the centuries with almost unbearable immediacy; her spirit leaps from the page, uncompromising in its frankness, good sense, courage, and often breathtaking in its simple effectiveness. Joan of Arc into one of the mostfully and vividly present personalities in history, about whom a great more is known, in her own words and at first hand, than is, for example, about Shakespeare. However, this has not stopped the flow of fictions and fantasies about her. Marina Warner analyses the symbolism of the Maid in her own time and in her rich afterlife in popular culture. The cultural expressions are part of an ongoing historical struggle to own the symbol - you could say, the brand. In a new preface to herstudy, Marina Warner takes stock of the continuing contention, in politics and culture, for this powerful symbol of virtue. Joan of Arc''s multiple resurrections and transformations show how vigorous the need for figures like her remains, and how crucial it is to meet that need with thoughtfulness.She argues that abandoning the search to identify heroes and define them, out of a kind of high-minded distaste for propaganda, lets dangerous political factions manipulate them to their own ends. When Marine Le Pen calls on Joan of Arc''s name, she needs to be confronted about her bad faith and her abuse of history.

This unique study of the cult of the Virgin Mary offers a way of thinking about the interrelations of Catholicism and ideas of ideal femininity over the longue duree. An ambitious history of the changing symbolism of the Mother of God, Alone of All Her Sex holds up to the light different emphases occurring at different times, and highlights that the apparent archetype of a magna mater is constantly in play with social and historical conditions and values. Marina Warner's interesting perspective was forged in the aftermath of significant postwar developments in history, anthropology, and feminism and the book inspired fierce debates when it was first published in 1976. Alone of All Her Sex is also an emotive, personal statement, arising from Warner's own upbringing as a Catholic. It picks up on classic accounts such as Mary MacCarthy's Memoirs of a Catholic Girlhood and Antonia White's Frost in May, as well as the author's own experiences at a Catholic boarding school. Highly controversial in conservative quarters, the book's arguments were welcomed and recognised by many readers who shared Warner's experiences. In this new edition, Marina Warner has written a new preface which reviews the book in the light of the current debate about secularism, faith, nations, and social identities. She takes issue with her original mistaken conclusion that the modern age would see the cult of Mary fade away and revises it in the light of recent popes' enthusiasm for the Mother of God, a fresh wave of visions and revelations, a new generation of female saints, and the reorientation of theological approaches to the woman question.

The fame of Joan of Arc began in her lifetime and, though it has dipped a little now and then, she has never vanished from view. Her image acts as a seismograph for the shifts and settlings of personal and political ideals: Joan of Arc is the heroine every movement has wanted as their figurehead. In France, anti-semitic, xenophobic, extreme right parties have claimed her since the Action Francaise in the 19th century. By contrast, Socialists, feminists, and liberal Catholics rallied to her as the champion of the dispossessed and the wrongly accused. Joan of Arc has also played a crucial role in changing visions of female heroism. She has proved an inexhaustible source of inspiration for writers, playwrights, film-makers, performers, and composers. In a single, brief life, several of the essential mythopoiec characteristics that throughout history have defined the charismatic leader and saint are powerfully and intensely condensed. Even while Joan of Arc was still alive, but far more so after her death, the heroic part of her story sparked narratives of all kinds, in pictures, ballads, plays, and also satires. This was only heightened in 1841-9 by the publication of the Inquisition trial which had examined Joan for witchcraft and heresy. The transcript of the interrogations gives us the voice of this young woman across the centuries with almost unbearable immediacy; her spirit leaps from the page, uncompromising in its frankness, good sense, courage, and often breathtaking in its simple effectiveness. Joan of Arc into one of the most fully and vividly present personalities in history, about whom a great more is known, in her own words and at first hand, than is, for example, about Shakespeare. However, this has not stopped the flow of fictions and fantasies about her. Marina Warner analyses the symbolism of the Maid in her own time and in her rich afterlife in popular culture. The cultural expressions are part of an ongoing historical struggle to own the symbol - you could say, the brand. In a new preface to her study, Marina Warner takes stock of the continuing contention, in politics and culture, for this powerful symbol of virtue. Joan of Arc's multiple resurrections and transformations show how vigorous the need for figures like her remains, and how crucial it is to meet that need with thoughtfulness. She argues that abandoning the search to identify heroes and define them, out of a kind of high-minded distaste for propaganda, lets dangerous political factions manipulate them to their own ends. When Marine Le Pen calls on Joan of Arc's name, she needs to be confronted about her bad faith and her abuse of history.