Bluebeard S Legacy

The tale of the serial wife-murderer Bluebeard, his defiant, and surviving, final wife, a bloodied key and a secret chamber of horrors, has fascinated writers, composers, artists and film-makers throughout modern times. It is a unique story that dares to disclose and explore masculine violence: the homme fatal. This transdisciplinary book explores the deep appeal of the Bluebeard story for twentieth-century culture. Its major focus is how the modernist imagination used the elements of Bluebearda??s tale to explore masculinitya??s anxieties in the face of the emerging demands of women for redef.

Exploring the literary microcosm inspired by Brontë's debut novel, Jane Eyre's Fairytale Legacy at Home and Abroad focuses on the nationalistic stakes of the mythic and fairytale paradigms that were incorporated into the heroic female bildungsroman tradition. Jane Eyre, Abigail Heiniger argues, is a heroic changeling indebted to the regional, pre-Victorian fairy lore Charlotte Brontë heard and read in Haworth, an influence that Brontë repudiates in her last novel, Villette. While this heroic figure inspired a range of female writers on both sides of the Atlantic, Heiniger suggests that the regional aspects of the changeling were especially attractive to North American writers such as Susan Warner and L.M. Montgomery who responded to Jane Eyre as part of the Cinderella tradition. Heiniger contrasts the reactions of these white women writers with that of Hannah Crafts, whose Jane Eyre-influenced The Bondwoman's Narrative rejects the Cinderella model. Instead, Heiniger shows, Crafts creates a heroic female bildungsroman that critiques fairytale narratives from the viewpoint of the obscure, oppressed workers who remain forever outside the tales of wonder produced for middle-class consumption. Heiniger concludes by demonstrating how Brontë's middle-class American readers projected the self-rise ethic onto Jane Eyre, miring the novel in nineteenth-century narratives of American identity formation.

Bluebeard's curse : repetition and improvisational energy in the Bluebeard tale / Maria Tatar -- Bluebeard, hero of modernity : tales at the fin de siècle / Mererid Puw Davies -- Béla Bartók's Duke Bluebeard's castle : a musicological perspective / David Cooper -- A tale of an eye : revealing the Jew in Duke Bluebeard's castle / Victoria Anderson -- Hidden debates under a Baroque surface : Barbe-bleue by Georges Méliès (1901) / Michael Hiltbrunner.

Bluebeard's curse : repetition and improvisational energy in the Bluebeard tale / Maria Tatar -- Bluebeard, hero of modernity : tales at the fin de siècle / Mererid Puw Davies -- Béla Bartók's Duke Bluebeard's castle : a musicological perspective / David Cooper -- A tale of an eye : revealing the Jew in Duke Bluebeard's castle / Victoria Anderson -- Hidden debates under a Baroque surface : Barbe-bleue by Georges Méliès (1901) / Michael Hiltbrunner.

Sue Short examines how fairy tale tropes have been reworked in contemporary film, identifying familiar themes in a range of genres – including rom coms, crime films and horror – and noting key similarities and differences between the source narratives and their offspring.

'Bluebeard,' the tale of a sadistic husband who murders his wives and locks away their bodies, has inspired hundreds of adaptations since it first appeared in 1697. In Bluebeard Gothic, Heta Pyrhönen argues that Charlotte Brontë's 1847 classic Jane Eyre can be seen as one such adaptation, and that although critics have been slow to realize the connection, authors rewriting Brontë's novel have either intuitively or intentionally seized on it. Pyrhönen begins by establishing that the story of Jane Eyre is intermingled with the 'Bluebeard' tale, as young Jane moves between households, each dominated by its own Bluebeard figure. She then considers rewritings of Jane Eyre, such as Jean Rhys' Wide Sargasso Sea (1966) and Diane Setterfield's The Thirteenth Tale (2006), to examine how novelists have interpreted the status and meaning of 'Bluebeard' in Brontë's novel. Using psychoanalysis as the primary model of textual analysis, Bluebeard Gothic focuses on the conjunction of religion, sacrifice, and scapegoating to provide an original interpretation of a canonical and frequently-studied text.

Maurice Maeterlinck described his libretto Ariane et Barbe-bleue as "a sort of legendary opera, or fairy [opera], in three acts." In 1907, Paul Dukas finished setting Maeterlinck's libretto to music, and the opera's Paris premiere was lauded as a landmark in operatic history. Ariane & Bluebeard: From Fairy Tale to Comic Book Opera offers a comprehensive, interdisciplinary look at this historic opera, including its structure, reception, and cultural implications. This lively collection juxtaposes chapters from experts in music, literature, the visual arts, gender studies, and religion and philosophy with vibrant illustrations by comic artist P. Craig Russell and interviews with performers and artists. Featuring material from newly discovered documents and the first English translation of several important sources, Ariane & Bluebeard allows readers to imagine the opera in its various incarnations: as symbolist show, comic book, children's fairy tale, and more.

This is the first book-length examination of Bartók's 1911 opera Duke Bluebeard's Castle, one of the twentieth century's enduring operatic works. Writing in an engaging style, Leafstedt adopts an interdisciplinary approach to the opera by introducing, in addition to music-dramatic analysis, a number of topics that are new to the field of Bartók studies. These new areas of critical and scholarly terrain include a detailed literary study of the libretto and a gender-focused analysis of the opera's female character, Judith. Leafstedt begins with a short introductory chapter that places Duke Bluebeard's Castle within the context of Bartók's early composing career, his discovery of folk music, and its impact on his later work. The book goes on to explore the composition's troubled history, its failure to win two early Hungarian opera competitions, and the three versions of the ending that resulted, discussed here in depth for the first time. The core of the book is devoted to the musical and dramatic organization of the opera and offers an analysis of the seven individual door scenes, including a detailed analysis of scene six, the "lake of tears" scene, illustrating the work's complex tonal organization and dramatic structure. A separate chapter places this darkly psychological version of the Bluebeard story within the broader context of European history and literature. Throughout the book, Leafstedt draws on original Hungarian source material, much of it newly translated by the author and available here for the first time in English, and he includes a generous selection of musical examples. Inside Bluebeard's Castle is an ideal starting point for research in twentieth-century music, Hungarian cultural history, and opera studies, as well as an invaluable guide for anyone interested in Bartók's only opera.