In:Mixed Magic: Global-local dialogues in fairy tales for young readers
Anna Katrina Gutierrez
[Children’s Literature, Culture, and Cognition 8] 2017
► pp. ix–xii
Published online: 26 July 2017
https://doi.org/10.1075/clcc.8.tof
https://doi.org/10.1075/clcc.8.tof
Table of figures
Figure 1.1The Fairy Market. From Stardust: Being a Romance Within the Realms of Faerie™ © Neil Gaiman and Charles Vess. Courtesy of DC Comics.
Figure 2.1The Chinese stereotype and canned laughter. From American Born Chinese ©2006 by Gene Luen Yang. Reprinted by permission of First Second, an imprint of Roaring Brook Press, a division of Holtzbrinck Publishing Holdings Limited Partnership. All Rights Reserved.
Figure 2.2Beheading the Asian American stereotype. From American Born Chinese ©2006 by Gene Luen Yang. Reprinted by permission of First Second, an imprint of Roaring Brook Press, a division of Holtzbrinck Publishing Holdings Limited Partnership. All Rights Reserved.
Figure 2.3From Komi wa op’undori ajǒssi by Kwon Jung Saeng and Lee Dam. Seoul: Bori Publishing, 2007. Used by permission of Bori Publishing.
Figure 2.4Gomi watches the “Sun and Moon” folktale retold as the separation of Korea into North and South. From Komi wa op’undori ajǒssi by Kwon Jung Saeng and Lee Dam. Seoul: Bori Publishing, 2007. Used by permission of Bori Publishing.
Figure 2.5Glocal space in Ang Prinsipe ng mga Ibon (The Prince of Birds) by Christine S. Bellen and Frances C. Alcaraz. Manila: Anvil, 2005a. Used by permission of Anvil.
Figure 2.6Blending Chinese clothing, European skirts, and pañuelo in Ang Prinsipeng Mahaba ang Ilong (The Prince with the Long Nose) by Christine S. Bellen and Liza A. Flores. Manila: Anvil, 2005c. Used by permission of Anvil.
Figure 2.7Disney intertext in Ang Prinsipeng Mahaba ang Ilong (The Prince with the Long Nose) by Christine S. Bellen and Liza A. Flores. Manila: Anvil, 2005c. Used by permission of Anvil.
Figure 2.8Blending global things (bed frame and slippers) with local artifacts (agimat on floor) in Ang Prinsipeng Duwag (The Cowardly Prince) by Christine S. Bellen and Ruben de Jesus. Manila: Anvil, 2005b. Used by permission of Anvil.
Figure 2.9The tribal prince and his gumamela: glocalizing the lovestruck in Ang Binibining Tumalo sa Mahal na Hari (The Maiden Who Defeated the King) by Christine S. Bellen and Elbert Or. Manila: Anvil, 2005d. Used by permission of Anvil.
Figure 2.10The transformation of Leila into Kolgata through a mishmash of fairy-tale scripts and advertisements. From Der Wunderkasten by Rafik Schami and Peter Knorr. Weinheim: Beltz, 1990. Used by permission of Beltz.
Figure 2.11Glocal reinventions of Western character types in Der standhafte innsoldat by Jörg Müller. © S. Fischer Verlag GmbH, Frankfurt am Main, 2016. First published in German by Sauerländer Verlag, Aarau, 1996.
Figure 2.12The glocal space. From American Born Chinese ©2006 by Gene Luen Yang. Reprinted by permission of First Second, an imprint of Roaring Brook Press, a division of Holtzbrinck Publishing Holdings Limited Partnership. All Rights Reserved.
Figure 3.1Illustration from La barbe bleue by Clément-Pierre Marillier in Le Cabinet des fées, ou Collection choisie des contes de fées et autres contes merveilleux, Vol. 1 (1785–1789). Picture credit: Princeton University Library.
Figure 3.2
The Deposed Favourite by Fernand Cormon (French, 1845–1924) ©1999 Christie’s Images Limited. ©1999 Christie’s Images Limited
Figure 3.3Blue Beard lures Fatima and readers into the Oriental space. Illustration by Edmund Dulac from The Sleeping Beauty and Other Fairy Tales reproduced by kind permission of Hodder & Stoughton Ltd, an imprint of Hachette UK, Carmelite House, 50 Victoria Embankment, London imprint, EC4Y 0DZ
Figure 3.4Fatima and her friends enjoy Blue Beard’s hospitality. The scene evokes orientalist harem genre paintings. Illustration by Edmund Dulac from The Sleeping Beauty and Other Fairy Tales reproduced by kind permission of Hodder & Stoughton Ltd, an imprint of Hachette UK, Carmelite House, 50 Victoria Embankment, London imprint, EC4Y 0DZ.
Figure 3.5
The Hhareem of a Mamluke Bey, Cairo (1850) by John Frederick Lewis © Victoria and Albert Museum, London.
Figure 3.6Orientalist iconography in Arthur Rackham’s Blue Beard recalls the style of the Oriental canon paintings © The British Library Board 12403.bb.17 Facing p. 146
Figure 3.7Orientalist iconography: isomorphism of the female form and the curves of the window. Life in the Hareem, Cairo by John Frederick Lewis (1858) © Victoria and Albert Museum, London.
Figure 3.8Two types of Oriental otherness. Title Illustration: The Story of Bluebeard by Charles Robinson reprinted by permission of Pollinger Limited <www.pollingerltd.com> on behalf of the Estate of Charles Robinson.
Figure 3.9Mixing cultural stereotypes of otherness. From Blue Beard by Harry Clarke © The British Library Board, 12450.v.1, p. 35.
Figure 3.10The forbidden chamber: the dark heart of the Monstrous Oriental. Illustration by Edmund Dulac from The Sleeping Beauty and Other Fairy Tales reproduced by kind permission of Hodder & Stoughton Ltd, an imprint of Hachette UK, Carmelite House, 50 Victoria Embankment, London imprint, EC4Y 0DZ.
Figure 3.11The Beast as Oriental despot. Illustration by Edmund Dulac from The Sleeping Beauty and Other Fairy Tales reproduced by kind permission of Hodder & Stoughton Ltd, an imprint of Hachette UK, Carmelite House, 50 Victoria Embankment, London imprint, EC4Y 0DZ.
Figure 3.12The Oriental Other tamed by the Western ideologies that Beauty represents. Illustration by Edmund Dulac from The Sleeping Beauty and Other Fairy Tales reproduced by kind permission of Hodder & Stoughton Ltd, an imprint of Hachette UK, Carmelite House, 50 Victoria Embankment, London imprint, EC4Y 0DZ.
Figure 4.1Albert Robida’s flying machines, as in the lithograph Le Sortie de l’opéra
en l’an 2000 (1902), inspired designs for Howl’s Moving Castle. Copy of the Library of Congress, Washington DC.
Figure 4.2The flying machine in Howl’s Moving Castle by Hayao Miyazaki. Japan: Studio Ghibli, 2004.
Figure 4.3Howl’s castle as part of the ecosystem. From Howl’s Moving Castle by Hayao Miyazaki. Japan: Studio Ghibli, 2004.
Figure 4.4Kiki flies over Koriko. From Kiki’s Delivery Service by Hayao Miyazaki. Japan: Studio Ghibli, 1989.
Figure 4.5Contamination of local space: Sho pulls out the kitchen wall of the Clock family. From The Secret World of Arrietty by Hiromasa Yonebayashi & Hayao Miyazaki. Japan: Studio Ghibli, 2010.
Figure 4.6Destructive modernity: Sho replaces the old kitchen with a modern one. From The Secret World of Arrietty by Hiromasa Yonebayashi & Hayao Miyazaki. Japan: Studio Ghibli, 2010.
Figure 4.7Arrietty’s room: a harmonious blend of human and natural things. From The Secret World of Arrietty by Hiromasa Yonebayashi & Hayao Miyazaki. Japan: Studio Ghibli, 2010.
Figure 4.8The blending of Arrietty and nature. From The Secret World of Arrietty by Hiromasa Yonebayashi & Hayao Miyazaki. Japan: Studio Ghibli, 2010.
Figure 4.9Pilot’s Valhalla: A blend of technology and magic/nature. From Porco Rosso by Hayao Miyazaki. Japan: Studio Ghibli, 1992.
Figure 5.1The little mermaid: A schema for the cultural other. From The Little Mermaid by Hans Christian Andersen, illustrated by Katie Thamer Treherne. Copyright ©1989 by Houghton Mifflin Harcourt Publishing Company. Illustration copyright ©1989 by Katie Thamer Treherne. Reprinted by permission Houghton Miflin Harcourt Publishing Company. All rights reserved.
Figure 5.2Dulac (1911) orientalizes the human realm. Illustration by Edmund Dulac from The Snow Queen and Other Stories of Hans Andersen reproduced by kind permission of Hodder & Stoughton Ltd, an imprint of Hachette UK, Carmelite House, 50 Victoria Embankment, London imprint, EC4Y 0DZ.
Figure 5.3Ena: the strong and dangerous local. From Ang Sirena sa Uli-Uli ng Ilog Pasig by Severino Reyes, illustrated by Felix Mago Miguel. Manila: Tahanan, 2005. Used by permission of Tahanan.
Figure 5.4Ponyo as a goldfish. From Ponyo on The Cliff by The Sea. Japan: Studio Ghibli, 2008.
Figure 5.5Gran Mamare, the benevolent matriarch. From Ponyo on The Cliff by The Sea. Japan: Studio Ghibli, 2008.
