A Twice Told Tale

Presents two tales from the Brothers Grimm, combined with Mr. Fox's highly unusual interpretations of them.

Essays on Iberian views of the age of conquest through literature and cinema

Caleb Woolf has designs on the basket of food that Cassie Cloak takes to her grandmother every Sunday, so they set a trap to teach him a lesson.

The Twice-Told Tale: Parallels in the Bible is the English version of a Hebrew work titled Parallels in the Bible, which is also published by Carta Jerusalem. As in the Hebrew version, the entire Book of Chronicles (I and II) appears in one column, with the parallel verses from other books of the Bible in an accompanying column on the same page. Parallels between books other than Chronicles are also included, such as parallel laws in the Pentateuch, later prophets' use of earlier prophets, and parallel psalms and proverbs. Words or phrases that are omitted in one source are represented by blank spaces of appropriate length in the opposite column. The Twice-Told Tale uses the classic text of the King James Version for this English edition. Key features of The Twice-Told Tale - It collates and presents parallel Bible texts in a way that clearly shows the duplications, differences, and silences. - It is conveniently arranged for ease of study. - It allows you to draw your own conclusions regarding the variant accounts in the Bible.

A Thrice-Told Tale is one ethnographer's imaginative and powerful response to the methodological issues raised by feminist and postmodernist critics of traditional ethnography. The author, a feminist anthropologist, uses three texts developed out of her research in Taiwan--a piece of fiction, anthropological fieldnotes, and a social science article--to explore some of these criticisms. Each text takes a different perspective, is written in a different style, and has different "outcomes," yet all three involve the same fascinating set of events. A young mother began to behave in a decidedly abherrant, perhaps suicidal manner, and opinion in her village was sharply divided over the reason. Was she becoming a shaman, posessed by a god? Was she deranged, in need of physical restraint, drugs, and hospitalization? Or was she being cynically manipulated by her ne'er-do-well husband to elicit sympathy and money from her neighbors? In the end, the woman was taken away from the area to her mother's house. For some villagers, this settled the matter; for others the debate over her behavior was probably never truly resolved. The first text is a short story written shortly after the incident, which occurred almost thrity years ago; the second text is a copy of the fieldnotes collected about the events covered in the short story; the third text is an article published in 1990 in American Ethnologist that analyzes the incident from the author's current perspective. Following each text is a Commentary in which the author discusses such topics as experimental ethnography, polyvocality, authorial presence and control, reflexivity, and some of the differences between fiction and ethnography. The three texts are framed by two chapters in which the author discusses the genereal problems posed by feminist and postmodernist critics of ethnography and presents her personal exploration of these issues in an argument that is strongly self-reflexive and theoretically rigorous. She considers some feminist concerns over colonial research methods and takes issues with the insistence of some feminists tha the topics of ethnographic research be set by those who are studied. The book concludes with a plea for ethnographic responsibility based on a less academic and more practical perspective.

Fairy tales, often said to be ''timeless'' and fundamentally ''oral,'' have a long written history. However, argues Elizabeth Wanning Harries in this provocative book, a vital part of this history has fallen by the wayside. The short, subtly didactic fairy tales of Charles Perrault and the Grimms have determined our notions about what fairy tales should be like. Harries argues that alongside these ''compact'' tales there exists another, ''complex'' tradition: tales written in France by the conteuses (storytelling women) in the 1690s and the late-twentieth-century tales by women writers that derive in part from this centuries-old tradition. Grounded firmly in social history and set in lucid prose, Twice upon a Time refocuses the lens through which we look at fairy tales. The conteuses saw their tales as amusements for sophisticated adults in the salon, not for children. Self-referential, frequently parodic, and set in elaborate frames, their works often criticize the social expectations that determined the lives of women at the court of Louis XIV. After examining the evolution of the ''Anglo-American'' fairy tale and its place in this variegated history, Harries devotes the rest of her book to recent women writers--A. S. Byatt, Anne Sexton, Angela Carter, and Emma Donoghue among them--who have returned to fairy-tale motifs so as to challenge modern-day gender expectations. Late-twentieth-century tales, like the conteuses', force us to rethink our conception of fairy tales and of their history.