Cinderella S Slipper

The author draws from a variety of folk traditions to put together this version of Cinderella, including elements from Mexico, Iran, Korea, Russia, Appalachia, and more.

«Cinderella» by Charles Perrault, Charles Welsh and illustrated by Michael Bychkov.

Samuel D. Fohr holds that the Grimms' tales are not just childish 'fairy tales', but are filled with spiritual symbolism, and as such have value for adults as well as children. Snow White, for example, is a story of creation and spiritual growth, and its message parallels Hindu and Judaic creation myths. Hansel and Gretel and Cinderella both portray the journey back to God. Fohr also looks at recurring themes in the stories, and answers such questions as: Why are giants always evil and dwarves always good? What is the symbolic significance of the hungry wolf who appears in many stories? Exactly what are genies, and why are they always trapped in bottles? A delightful but serious examination of cherished stories, this book reveals new meaning in familiar tales. Also included is an extensive bibliography and an Appendix on the authenticity of the Grimms' tales. The author is a professor of philosophy at the University of Pittsburgh at Bradford. He received his Ph.D. in Philosophy from the University of Michigan and has taught courses in both Western and Eastern Philosophy. He is the author of Adam and Eve: The Spiritual Symbolism of Genesis and Exodus, and editor of more than a dozen volumes of The Collected Works of Rene Guenon. To say that Fohr retrieves fairy tales from the nursery on the one hand, and retrieves them from mere entertainment for adults on the other, is only the start of the matter. Like Freud, Jung, and Levy-Strauss, he recognizes the wisdom folktales embody, but he goes beyond those students of myth in arguing that the authors knew what they were doing: they crafted their tales consciously. This is a courageous and cogent book that goes a long way toward revalidating a literary genre that modernity has irresponsibly trivialized. - Huston Smith, author of The World's Religions, etc.

Handsome princes, fancy castles, extravagant balls . . . in this girl-power fractured fairy tale, Cinderella learns that if it looks too good to be true, it probably is, and it's better to create your own happy ending. Cinderella is dying to go to the ball. She's seen pictures of the fancy castle and the handsome prince, she's heard the fairy tales about true love, she's found the perfect dress in Princess magazine and she's even found an ad for a Fairy Godmother. She's all set. Except the fairy godmother doesn't look like the one in the ad. And the castle doesn't look like the picture. And the prince . . . well, Cinderella decides her fairy-tale ending is going to look different--and be a whole lot more fun.

The second book in the Sisters Ever After series of fairy tale retellings from the point of view of the siblings in the background, this is the thrilling story of Cinderella's never-before-mentioned third "evil" step-sister, Tirza. Meet Cinderella’s third “wicked” stepsister, Tirza. For years, Tirza has lived with the shame of what her family did to Cinderella. Against everyone’s advice, Cinderella—now Queen Ella—took a chance on young Tirza. She gave Tirza a home in the castle instead of banishing her. The queen told everyone Tirza was good and kind, not cruel like her older sisters. But now Queen Ella’s famous glass slippers are missing, and there’s only one suspect. . . . Tirza may have tried them on . . . but she didn’t steal them. Now she must find the true thief before she loses her royal home. But as Tirza gets closer to the truth, she finds herself getting closer to something else: her sisters, who might not be quite as evil as Cinderella claims.

Betraying the most powerful man in New York wasn't something I ever envisioned when I first started playing games with Winston Constantine. But he's engaged in far more dangerous games than ours, and his enemies are out for blood. Winston has my heart, the Morellis have incriminating photos, and I'm left with nothing except three evil stepbrothers and a future in doubt. I knew Winston wouldn't be my prince charming, but that didn't stop me from falling for him. After all, the slippers fit, and I let myself believe I'd be dancing with Winston forever. Until too much truth comes to light. Until I realize instead of ruling the board, I was just a pawn. In the end, I have only one question. When his game with me is over, will I be able to pretend as if the glass slipper wasn't a perfect fit?

With the help of her Fairy Godmother, Cinderella is able to attend the ball and win the heart of the handsome Prince.

Cinderella's Glass Slipper studies Renaissance material cultures through the literary prism of fairy-tale objects. The literary fairy-tale first arose in Renaissance Venice, originating from oral story-telling traditions that would later become the Arabian Nights, and subsequently in the Parisian salons of Louis XIV. Largely written by, for, and in the name of women, these literary fairy-tales took a lightly comic view of life's vicissitudes, especially female fortune in marriage. Connecting literary representations of bridal goods - dress, jewellery, carriages, toiletries, banqueting and confectionary foods - to the craft histories of their making, this Element offers a newly-contextualised socio-economic account of Renaissance luxe, from architectural interiors to sartorial fashioning and design. By coupling Renaissance luxury wares with their fairy-tale representation, it locates the recherché materialities of bridal goods - gold, silver, diamonds and silk - within expanding colonialist markets of a newly-global early modern economy in the age of discovery.